For her third album, ‘Bobbie’, Dutch singer-songwriter Pip Blom decided to rip it up and start again. After making her name as one of the brightest indie rock singers around through two albums – 2019 debut ‘Boat’ and 2021 follow-up ‘Welcome Break’ – and a lauded live show honed over gruelling years of touring, the new album sees her take a delightful left turn into thumping, carefree synth pop. This 12-track collection features collaborations with Personal Trainer and Alex Kapranos.

TRACK LISTING

1. Not Tonight
2. Tiger
3. Red
4. Kiss Me By The Candlelightfeat. Personal Trainer
5. I Can Be Your Man
6. Where'd You Get My Number?
7. Brand New Car
8. Is This Love?feat. Alex Kapranos
9. Fantasies
10. Again
11. Get Back
12. 7 Weeks 

Stone Foundation 'B What U R’ 7 inch release includes 2 new singles taken from their 25th anniversary release “Standing In The Light’.

TRACK LISTING

A: B What U R
AA: Summer Feeling

The Nashville, Tennessee, garage rock group were signed as teenagers to the prestigious XL in the UK and Thurston Moore's Ecstatic Peace label in the US, with whom they released two widely acclaimed albums. They went on to tour with the likes of Arctic Monkeys, Sonic Youth, Le Tigre etc and have been cited as influences for groups such as Paramore and Big Joanie.

TRACK LISTING

Side 1:
1. Worship The Whip
2. Goodtime!
3. Erotomania
4. Bad Mood Rising
5. Never Again
6. Pleasure Seeker
Side 2:
1. Rubberist
2. Big Trouble
3. Hand Grenade
4. Drive
5. Teenage Heaven

Black Rhythm Revolution! Is the first solo album from the jazz-funk legend Idris Muhammad, a New Orleans-bred rhythm king who successfully made the leap from the finest soulful jazz records of the ’60s to the nastiest fusion funk of the ’70s. Here we catch him literally on the cusp of the two in 1970, with one good foot in the get-down of “Express Yourself” and “Super Bad,” and the other in his own heady excursions into modal rhythm and melody, accompanied by virtuosos Kenny Barron, Ron Carter, Melvin Sparks, who came together for sessions overseen by legendary producer Rudy Van Gelder. This 180-gram Jazz Dispensary reissue of Black Rhythm Revolution! was cut from the original analogue tapes by Kevin Gray and pressed at RTI, and comes packaged in a tip-on jacket. 

TRACK LISTING

Side A
Express Yourself
Soulful Drums
Super Bad
Side B
Wander
By The Red Sea

Duo from Detroit which includes Chris Samuels of Ritual Howls. 

Mission to the Sun's sophomore album, Sophia Oscillations, is an immersive journey through the dark corners of post industrial music. The Detroit based duo continues the sonic exploration started on their debut album Cleansed by Fire, while delving deeper into themes of isolation and lost communication. Christopher Samuels’ synths, samples and rhythmic programming is accented by Kirill Slavin’s haunting vocal delivery as the listener receives intersperse audio recordings from the outer reaches of inner space.

Throughout the album, Mission to the Sun masterfully weaves together disparate sounds, creating a cohesive whole that is both complex and emotionally charged. In the opening track “Drowning,” Slavin sings about being consumed by the waters of the subconscious on an alien planet as he looks for omens in the sky. Samuels drives the song with a thick bass line and a repeating ambient pad chord structure that achieves a rich, yet alienated mood. The title track “Sophia Oscillations” establishes the album’s theme of distance and isolation while pulsating through a range of emotions. Samuels meshes otherworldly sound design with brooding synth lines to create a dark and introspective atmosphere. "Unborn" continues the journey while Slavin sings about the exploration of death and surveillance, highlighting the digital footprint that never goes away. The song's rhythmic quality (despite not having a drum beat) further highlights the duo’s willingness to delve into the darker aspects of the human condition.

With "Sophia Oscillations", Mission to the Sun offers a deeply concerning and otherworldly listening experience that showcases the band's skill at crafting intricate sonic landscapes. The band masterfully blends organic vocal delivery and synthetic sounds to create songs as if they were bathed in alien noise artifacts. These compositions oscillate as transmissions from a journey towards a distant sun to be interpreted by the listener in their home world.

TRACK LISTING

01. Drowning
02. Sophia Oscillations
03. Censor Sickness
04. Unborn
05. Attrition
06. Cornerstone
07. Touch
08. No Foundation

For Fans Of: Elliott Smith, Fleet Foxes, Grizzly Bear, Sufjan Stevens.

In 2019, Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.”

Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allow ing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative.

“As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording.

The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance.

“Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK.

“Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt. STEREOGUM.

TRACK LISTING

01 Opalescent Ribbon
02 If There's Love In Your Heart
03 Cruiser
04 Nowhere Real
05 Pony
06 Glitch Eternity
07 Step's Disappearing Coin
08 Cruiser (Reprise)
09 Cool And Collected
10 Comedy
11 Who Cares
12 Poured Back In The Stream
13 Addicted To A Dream
14 Nowhere Real (Reprise)

Blonde Redhead return with ‘Sit Down for Dinner,’ their first album in seven years and debut for section1. Its title a nod to the often-sacred communal ritual of sharing a meal with those you love, this immersive, meticulously crafted album appropriately serves an expression of persistent togetherness, a testament to the unique internal logic Blonde Redhead have refined over their three-decade existence.

Understated yet visceral melodies charge each song, creating a foil to lyrics about the inescapable struggles of adulthood: communication breakdown in enduring relationships, wondering which way to turn, holding onto your dreams. Ultimately, ‘Sit Down for Dinner’ lands as perhaps the strongest record in a catalog that’s already as illustrious as it is varied.

TRACK LISTING

1. Snowman
2. Kiss Her Kiss Her
3. Not For Me
4. Melody Experiment
5. Rest Of Her Life
6. Sit Down For Dinner (Part 1)
7. Sit Down For Dinner (Part 2)
8. I Thought You Should Know
9. Before
10. If
11. Via Savona

New Future City Radio, the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek, will be released on LP nd CD on Friday July 28th.

In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

These two artists have worked together from the peak days of the late 90s / early 00s Chicago music scene up through the present day, which has seen Locks featured as lead vocalist of the multiple critically-acclaimed Exploding Star Orchestra albums composed/produced by Mazurek. In recent years, Locks has also earned great renown from his revolutionary, expansive latter-day gospel/jazz project Black Monument Ensemble.

New Future City Radio finds the duo creating a natural but innovatively-assembled blend of the sounds of those two projects, with Locks’s BME-style sample-based sound collage creating compositional beds underneath the signature Orson Wells-like vocal delivery he’s developed through his work with ESO, alongside Roland SP flourishes and arresting brass improvisations by Mazurek. The album is also filled with vignettes as fractured radio transmissions, featuring contributions by guests including Roberto Lange (Helado Negro) and Mauricio Takara (Sao Paulo Underground). It’s a deep avant-garde echo of the legendary Bomb Squad (Locks even sounding a bit like a tape-delayed Check D on the vox), with beat artifacts spanning the whole gamut from pre to post golden era hip-hop - mixing OG Brooklyn boombox sound with the sci-fi boom-bap of late 90s Def Jux and/or Dan The Automator’s 75 Ark.

TRACK LISTING

1. 5-4-3-2-1
2. Yes!
3. The Sun Returns
4. Breeze Of Time
5. Your Name Gonna Ring The Bell
6. New Future
7. Droids!
8. The Concord Hour
9. Future City
10. 10mins Past The Hour
11. Support The Youth (With Sound)
12. The Beat
13. Las Niñas Estan Escuchando (The Children Are Listening)
14. Flitting Splits Reverb Adage
15. Twilight Shimmer
16. Suspense In The Grip Of Suspense
17. Polaris Radio
18. Drop

‘Lindstrøm returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019’s On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes’ original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album.

Where his previous album had a slower and more mellow feel, 2023’s Everyone Else is a Stranger sees Lindstrøm take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist’s revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer’s trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut.

Named «the king of space disco» by The New Yorker, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.’ 

TRACK LISTING

1. Syreen
2. Nightswim
3. The Rind
4. Everyone Else Is A Stranger

From teddy grahams to pussy hats, California forest fires to cash cabs, the stuff of American nostalgia and horror adorns a personal reckoning on Christina Schneider’s triumphant third album as Locate S,1. With a name culled from a Daschel Hammitt noir novel, Wicked Jaw pulls from wildly disparate references and textures to survey the history of American pop music. Like Pat Benatar soundtracking an Adam Curtis documentary, the album trades in dramatic juxtapositions across its kaleidoscopic ten tracks. Only Schneider could pull off singing a line like “season finale 2020 death machine” as a soothing lullaby, but jarring contrasts echo the tumultuous personal journey woven throughout. “I was in hell ... and loving it,” Schneider said of her childhood, describing a murky cocktail of sentimentality and despair. “It’s like when you escape the matrix and then you remember your wonderful time in the matrix.” The Athens, Georgia based songwriter, producer, and virtuosic pop connoisseur authored the album over two years while beginning treatment for childhood sexual abuse by a relative. “I was using these songs as an expression valve for all of these different parts (of myself) that I was trying to integrate,” she explained. The result is a surprisingly tender and often jubilant set of conversations with the ghosts of painful memories, Schneider transforming her metaphysical scars into gleaming armor as she redefines herself on her own terms.

Following 2020’s Personalia, an album Schneider created in collaboration with producer and romantic partner Kevin Barnes (Of Montreal) – where reviews often displaced credit for Schneider’s intricate electropop to Barnes – Wicked Jaw finds Schneider decidedly and unequivocally at the helm, as the album’s sole producer. It's a stylistic departure from Personalia in many ways, beyond personnel. Spanning decades and genres from doowop to cold wave, disco to soft rock, Wicked Jaw has the vitality of full band tracking at its core. Recorded to a 24 track tape machine during a weeklong session in the summer of 2022, it features deft and magnificently wackadoo performances from players including Ross Brand (guitar, percussion), Jojo Glidewell (piano, synth, percussion), Zack Milster (bass, percussion, pedal steel), and Clayton Rychlik (drums, percussion, sax) among others.

Wicked Jaw both is and isn’t a pandemic album. The dystopic terror of COVID-19 is an omnipresent touchpoint in the songs, which Schneider began writing in the summer of 2020, but the virus functions as a gateway for interpersonal analysis and reflection. What does it mean to be an American in the 21st century? What does it mean to be a woman? What does it mean to be a survivor? Schneider digs tunnels into collective memory on songs like “Go Back to Disnee,” a devastating bossa nova track that could soundtrack an episode of White Lotus. “Under the blankets, into the plastic dreams / Into the comfort of parental regimes,” Schneider purrs with a delivery so gentle that you might not detect the venom seeping through. On this tune and others, Schneider’s exceptional songcraft is most evident through her ability to excavate the toxins lingering beneath the surface in a way where they begin to shine and radiate a strange beauty.

“Beauty throws darkness and pain into relief so you can see it more clearly,” Schneider said of this songwriting tendency. While her lyrics do a sort of time traveling alchemy on past wounds, the sonic palette of the record is the real time machine. The running joke in the studio was that Wicked Jaw should be called “Radio Free Christina,” since it felt like turning the radio dial from song to song. How else would we get an album that boasts both Dido and Thin Lizzy as musical references? But the breadth of its melodic toolkit is held together by the singularity of Schneider’s compositional voice. Although Wicked Jaw is among her most accessible releases yet, chock full of infectious hooks, these songs still feature what her bandmates call trademark “Christina-isms” – the odd metered phrases and unusual time signatures that keep the listener on their toes and the songs firmly rooted in a space of experimental sophistipop.

Lead single “You Were Right About One Thing” is a case in point. Composed with the aim of harkening classic Christine McVie hits, the easiness of this song for the listener belies an innovative underlying architecture, where complex rhythms and wild chordal leaps are somehow smooth as silk. Meanwhile, Schneider applies the same tender veneer to the song’s challenging lyrical content. “Wrote all my worst fears down when i conjured you,” she sings to a past lover who treated her badly. These memories aren’t recounted with resentment or anger, but with compassion for the ways that intergenerational trauma bears out on relationships, shaping the patterns we struggle not to repeat. “In the end, it's like, ‘can I really hate you for hurting me when I chose you to hurt me?” Schneider said, explaining that the song came from a place of “trying to reconcile forgiveness for yourself and for the other person, so you can both grow.”

Wicked Jaw offers a similar therapeutic release upon repeat listens as it did for Schneider when she wrote it. It’s a portrait of commanding and loving resilience in the face of victimization and apocalyptic doom. The potency of these songs resides not in their grasping toward the heavens, seeking escape or transcendence, but rather from digging in the dirt, sitting with it, and really seeing the worms and rot and entropy in vivid technicolor. “This is about me, but I hope other people relate to it,” Scheider said. “I have all these emotional problems that make me react like a fucking monster, but that is also forged by my experience and there’s something there that I can be proud of, that’s part of my survival. I can’t just cut the head off – I have to integrate it into myself.” 

TRACK LISTING

1. You Were Right About One Thing
2. Go Back To Disnee
3. Pieta
4. Heart Attack
5. The Hard Way
6. Danielle
7. Have You Got It Yet?
8. Blue Meaniez
9. Daffodil
10. Wicked Jaw 

Nina Simone's Baltimore can be seen as the one true hidden gem in her discography. Without any promotion or lead singles, Baltimore was a commercial failure with no chart position. In recent years, the album has been rediscovered and Baltimore has become one of her most popular songs of the internet era. The album is praised for its reggae production and the presence of beautiful vocal performances of songs originally by Judy Collins, Hall & Oates, and Randy Newman.

TRACK LISTING

Side A
1. Baltimore
2. Everything Must Change
3. The Family
4. My Father

Side B
1. Music For Lovers
2. Rich Girl
3. That's All I Want From You
4. Forget
5. Balm In Gilead
6. If You Pray Right

Days In Europa, the 1979 album by Scottish new-wave punk band The Skids, has been remastered and reissued on a double LP featuring original artwork and 7 new bonus tracks

TRACK LISTING

1. Animation
2. Charade
3. Dulce Et Decorum Est (Pro Patria Mori)
4. Pros And Cons
5. Home Of The Save
6. Working For The Yankee Dollar
7. The Olympian
8. Thanatos
9. A Day In Europa
10. Peaceful Times
11. Masquerade
12. Out Of Town
13. Another Emotion
14. Aftermath Dub
15. Grey Parade
16. Working For The Yankee Dollar (Single Version)
17. Vanguard's Crusade

The car windows are down, the air is warm, and the possibilities are boundless. On Cut Worms, the new self-titled album from Brooklyn-based Max Clarke, the singer-songwriter and musician continues his exploration of what he calls “pop essentialism”. Mining the golden hits of yesteryear for a timeless double A-side sound, he contemplates age-old questions through a modern lens. Here, he leaves behind the legendary studio and sought-after producers for a more homegrown approach, working with a cast of gifted friends and collaborators. The result is a compact collection of daydream anthems that live between the summer’s hopeful beginnings and the season’s fleeting end.

As opposed to recording the entire album in one chunk at one studio, Clarke varied his methods. Three of the songs were cut from start to finish in his shared rehearsal space. “Don’t Fade Out” and Living Inside” were recorded in Brooklyn by Brian and Michael D’Addario of the Lemon Twigs, who also played piano and bass, respectively, on these two songs. Further basic tracking was done by Rick Spataro (of indie folk band Florist) at his Hudson Valley studio, Onlyness Analog, with contributions from the long standing Cut Worms live band–keyboardist John Andrews, bassist Keven Louis Lareau, and drummer Noah Bond (who played on all three sessions).

A youthful spirit breathes throughout these nine songs. The carnation-adorned school dance serenade of “I’ll Never Make It”; the starry eyed infatuation of “Is it Magic?”; the first fall leaves on the bus ride to school on “Living Inside”–all evoke a place of warmth and safety. Declarations like “Don’t Fade Out”, “Let’s Go Out On The Town”, and “Use Your Love” make high demands for life to change, but beg for us, as people, to keep hold of what makes us human. Clarke wrestles with a paradox–the joys of experience cannot be won without the loss of innocence.

On “Ballad of a Texas King” Clarke sings, ““Hey kid come along... something is wrong... I believe you know... All this to say, only one way that this can go…” It’s as if he’s reaching out to his younger self, letting him know the changes are inevitable. How do we hang on to a dream? How do we not lose ourselves in a world that is lost? The only way out of a nightmare is to keep going. Clarke’s answer lies in his art, where the search for love and the perfect pop song coalesce and transcend him to that other plane. –Kyle Avallone

TRACK LISTING

1. Don’t Fade Out
2. Take It And Smile
3. Ballad Of The Texas King
4. I’ll Never Make It
5. Is It Magic?
6. Let’s Go Out On The Town
7. Living Inside
8. Use Your Love! (Right Now)
9. Too Bad

Beggars Arkive will release a vinyl reissue of THE CULT’S fifth album Ceremony on August 11th. Two editions will be available. Blue/Red vinyl and black vinyl will be available everywhere. Originally released in 1991, The follow up to the massive Sonic Temple marked a turning point in the band’s sound and style and it was their first without longtime bassist Jamie Stewart. The album was a commercial success, reaching No. 25 on the Billboard chart and it remains a fan favorite and an important album in The Cult’s discography. The Cult continued to develop their sound on this album, and it is heavily influenced by Native American culture. Ceremony is a testament to their ability to evolve and adapt while staying true to their roots and it’s songs are about spirituality, love and rebellion. It includes the singles “Wild Hearted Son” and “Heart Of Soul”.

TRACK LISTING

1. Ceremony
2. Wild Hearted Son
3. Earth Mofo
4. White
5. If
6. Full Tilt
7. Heart Of Soul
8. Bangkok Rain
9. Indian
10. Sweet Salvation
11. Wonderland

Beggars Arkive will release a special translucent green vinyl edition of THE CULT’S fourth album Sonic Temple on August 11th. This edition is pressed on translucent green vinyl. Released in 1989, Sonic Temple album catapulted The Cult into superstar status and remains their most commercially successful release. Declared platinum in 1990, it was also a critical success, cementing their place in the pantheon of hard rock and heavy metal bands and earning them a devoted following that endures to this day. Sonic Temple had four massive hits; “Fire Woman”, “Edie (Ciao Baby)”, “Sun King” and “Sweet Soul Sister ”.

TRACK LISTING

1. Sun King
2. Fire Woman
3. American Horse
4. Edie (Ciao Baby)
5. Sweet Soul Sister
6. Soul Asylum
7. New York City
8. Automatic Blues
9. Soldier Blue
10. Wake Up Time For Freedom
11. Medicine Train
12. The River
13. Bleeding Heart Graffiti
14. Messin' Up The Blues
15. Fire Woman (NYC Rock Mix)
16. Edie (Ciao Baby) (Acoustic)

Barry Can’t Swim’s highly anticipated debut album is finally here, set for announcement on 31st May 2023 before release on October 20th. Those who have liked Barry’s output to date will love this full length, it showcases both sides of his artistry - his ability to write dancefloor-ready party bangers and also his more downtempo, piano-led pieces. These two sides will also come to life throughout 2023 and beyond on stage, with a stacked diary of both traditional DJ shows and his very first full band live shows. Every album track was written and crafted with it’s position within the full length piece of work in mind - it’s an album designed as such, rather than a collection of songs thrown together.

TRACK LISTING

1. When Will We Land?
2. Some Deadbeat Gospel (feat. Somedeadbeat)
3. Sonder
4. How It Feels
5. Sunsleeper
6. Woman
7. I Won’t Let You Down (feat Falle Nioke, Blackboxx)
8. Always Get Through To You
9. Tell Me What You Need (feat. Just Lil)
10. Dance Of The Crab
11. Define Dancing

• The latest 45 on Bob Stanley's Measured Mile label is another double-sided gem, this time picking up on a pair of terrific turn-of-the-70s acts whose original 7" singles are now both hard to find and horribly expensive.

• Hopscotch's ‘Look At The Lights Go Up’ is a terrific mod mover, and original copies now sell for £300. The group were a precursor to the Average White Band - hence their ability to fill a dancefloor - and their one and only single was arranged by the great John Cameron (Kes, Psychomania and sundry KPM library classics).

• Andwella were a heavier offshoot of psych act Andwella's Dream, whose “Love And Poetry” album is a four-figure job. ‘Hold On To Your Mind’ is a fabulous raver, reminiscent of early 70s free festivals where the dew has soaked the bottom of your flares and the best way to forget about that is by dancing. Once a funky rock obscurity, it is now in-demand thanks to being played out by the likes of Bill Brewster.

• Another stone classic from Measured Mile!

TRACK LISTING

Side One
Look At The Lights Go Up - Hopscotch
Side Two
Hold On To Your Mind - Andwella

• With a well-received new album “Darkadelic” in the shops, the Damned continue to build on their legendary status.

• This month as well as finally releasing the “David Vanian And The Phantom Chords” album as a 2LP set we are delighted to also offer “The Best Of The Damned”.

• This album was originally released back in 1981 and pulled together the classic singles that the band had made for the label like ‘Love Song’, ‘Smash It Up’ (Parts 1 and 2)’, ‘I Just Can’t Be Happy Today’, ‘History Of The World Part 1’, ‘Hit Or Miss’, their Christmas single ‘There Ain’t No Sanity Clause’ and ‘Wait For The Blackout’. Not only are these now seen as gold-standard Damned tracks but also map out a musical development where they moved from their punk roots to crafting melodic pop songs that also took them into the charts. Better still, when originally pressed up in 1981 the album cannily also included those earlier classics punk classics ‘New Rose’ and ‘Neat Neat Neat’. There’s even Captain Sensible and the Softies’ version of ‘Jet Boy, Jet Girl’ that appeared on the flip of ‘Wait For The Blackout’ in 1982.

• You don’t mess with a classic so we have reissued the album just as it looked back in 1981, complete with inner sleeve and blackmail label lettering. Saying that, fans of the Damned both old and new will need no encouragement to add this to their collection. 

TRACK LISTING

Side One
1. New Rose
2. Love Song
3. Neat Neat Neat
4. I Just Can't Be Happy Today
5. Jet Boy, Jet Girl
6. Hit Or Miss
7. There Ain't No Sanity Clause
Side Two
1. Smash It Up Parts 1 & 2
2. Plan 9 Channel 7
3. Rabid (Over You)
4. Wait For The Blackout
5. History Of The World Part 1 

• Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

• By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

• “Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

• Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

• Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

TRACK LISTING

Side One
1. Helplessly - Moment Of Truth
2. After You've Had Your Fling - The Intrepids
3. Welcome To The Club - Blue Magic
4. I Can't Move No Mountains - Margie Joseph
5. Supernatural Thing Part 1 - Ben E King
Side Two
1. Mellow Me - Faith, Hope & Charity
2. Georgia's After Hours - Richard "Popcorn" Wylie
3. Date With The Rain - Eddie Kendricks
4. Just As Long As We're Together - Gloria Scott
5. Wendy Is Gone - Ronnie Mcneir
6. Got To Get You Back - Sons Of Robin Stone
Side Three
1. Night Of The Wolf (Tema Del Lupo) - Ivano Fossati
2. Good Things Don't Last Forever – Ecstasy, Passion & Pain
3. Tell Me What You Want - Jimmy Ruffin
4. Keep It Up - Betty Everett
5. Free & Easy - Satyr
6. Each Morning I Wake Up - Major Harris
Side Four
1. It's The Same Old Story - Act I
2. You Can't Hide Love - Creative Source
3. The Whole Damn World Is Going Crazy – John Gary Williams
4. If That's The Way You Feel - White Heat
5. Wake Up Everybody - Harold Melvin And The Bluenotes 

When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993.

And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country.

Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers.

Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self.

Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023

TRACK LISTING

SIDE A
1. Lead Paint
2. Blasting Cap
SIDE B
1. Drop
2. Midway

In the 1980s, Michael Morley helped to push the jangly New Zealand
music scene towards rougher, more exploratory realms, as a member of
Wreck Small Speakers on Expensive Stereos, The Weeds, and the
almighty Dead C. His gnarled, distorted guitar tone and aggressively
moan-based vocal style are both as distinctive as they are secretly
beautiful.

Morley has released dozens of solo recordings—starting in the late
1980s as Gate, then more recently under his own name, and as the
Righteous Yeah. He’s also unafraid to tackle entirely new genres and
sounds, and to move into interactive installation-based music as well.
Birdman is beyond excited to present the first vinyl release of this
archival Gate release.

“...I think it is classic Gate material. The idea of the palette is fascinating
as I think I did approach it with a set of limited instrumentation
and the desire to make something again that could sound like rock
music. There is certainly a direct line from Wreck Small Speakers On
Expensive Stereos, through the Dead C, and to Gate. I think I was
also inspired by listening to [infamous and tragically short-lived early
1980s band] the Double Happys, and remembering their performances
as a duo with the drum machine. There was such utter chaos and
anarchy during their sets, with a desire to represent punk rock at its
nascent truth, I wanted to see if it was possible to re- imagine that
feeling. I was possibly also listening to the Stooges and MC5." - Michael Morley.

TRACK LISTING

1. All Of My Family
2. Mountains
3. Stars Keep
4. Land
5. Clouds Again
6. Film Envy

In the mid-’60s, Albert Ayler found himself at the center of major transformations within jazz. On his albums for ESP-Disk’, his delivery was radically aggressive and his tone blistering—aiming for something beyond the New Thing. His music would be further energized when (at the behest of John Coltrane) Bob Thiele signed him to Impulse! As Ayler told The Plain Dealer at the time, “It’s not about notes anymore. It’s a sound—a feeling. The approach we’re taking will discontinue the use of the word ‘jazz.’”

In Greenwich Village, Ayler’s first LP on Impulse!, perfectly captures the Cleveland-born saxophonist’s radiant intensity. Sourced from a pair of live engagements—February ’67 at the Village Theatre on New York’s Lower East Side and December ’66 at the Village Vanguard—these recordings show an improved clarity in production and performance.

Both sets feature two basses (including Alan Silva and Henry Grimes) which allowed the ensemble to go in different harmonic directions while maintaining an organic unity. Of particular interest are “For John Coltrane,” a tribute to Ayler’s mentor who would pass later that year, and “Truth Is Marching In” where trumpeter Donald Ayler joins his brother to celebrate and ultimately deconstruct several jazz traditions to stunning effect.

Vibrant in sound and vision, Albert Ayler’s In Greenwich Village is a landmark statement in free jazz and a career high-point for this truly original artist. Superior Viaduct is honored to present this classic album on vinyl for the first time domestically in 30 years.

TRACK LISTING

1. For John Coltrane
2. Change Has Come
3. Truth Is Marching In
4. Our Prayer

Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.

The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other.

The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

RidingEasy Records has teamed up with Permanent Records in Los Angeles to bring this very special heavy psych rocker back into the fold. New York City based African-American & Latino hard rock/psych trio Maximillian released their sole self-titled album on ABC Records in 1969, then promptly vanished. It has remained a collectors’ conversation piece ever since.

Maximillian combined elements of beat poetry, a little bit of The Fugs, a hit of Funkadelic, a lick of Cream and a vibe of Hendrix worship with an ambition that seems to have jumbled these influences. The Maximillian album is a rare artifact of late-60s psychedelic rock whose appeal is not the skill of their musicianship, but the downright strangeness of it. While at times it sounds like the trio is playing entirely different songs at the same time, it’s said that producer Teddy Vann had a hand in the album’s sometimes confusing production.

The group credited on the album consists of singer Buzzy Bowzer (aka Maximillian), lead guitarist Mojack Maximillian, and bassist Moby Medina (aka Moby Maximillian) with drummer Jerry Nolan later of the New York Dolls oddly uncredited on the LP. However, according to Nolan’s official biography, the band was actually co-founded by Buzzy and Nolan in 1968. The drummer was reported to have feuded with Vann, who disliked his Mitch Mitchell influenced style, and was subsequently mixed very quietly and not credited on the album.

The album’s eye-catching artwork features the sharp dressed band crucified on flower-covered crosses, with a cryptic and self-aggrandizing manifesto describing them as “new prophets of love and truth.” Be that as it may, their prophecy was short-lived, though it may have foretold the chaotic, rudimentary sounds to come in punk, and even, the grunge era.

The album opens with what sounds like an alternate reality version of Procol Harum’s “A Whiter Shade of Pale” here re-tripping the light fandango under the guise of “Naked Ape.” A short 4-second sputtering of a violin tuning starts and abruptly ends as funereal fuzz bass and drums set up the melody and shimmering organ, violin squall and Bowzer’s howling voice wails of the failures of human evolution. “Kickin’ 9 to 5” starts like an early Hendrix groove before turning on a dime into a Bo Diddley-esque dirge, replete with the drums hard panned to the left channel and a persistent maraca on the right. Bowzer’s diction on “Scar On My Memory” predates Mark E. Smith of The Fall’s signature added vowels at the end of most words, while the music sounds like a more acid damaged take on fellow NYC freak-folkers Exuma. Elsewhere, “The Name of The Game” echoes “Manic Depression” with churning, rolling drums and a chiming guitar following Bowzer’s growling blues until the song suddenly shifts into a lurching rave-up, then a blues rumble for a few bars before mutating back to the original riff. Album closer “Moby’s House” is by far the most unusual track, sounding like a pastiche of the album’s songs cut and spliced together in random fashion, perhaps in homage to The Beatles’ “Revolution No. 9.” Throughout the album, random percussion and other instruments pop up as though the producer were assuring he could take credit for song arrangements. 

You heard them first on Brown Acid “The Thirteenth Trip”. We are very excited to present to you the full unreleased recordings from this amazing band from Detroit. Master Danse was formed in late 1973 in Detroit, Michigan when drummer Tom Riss and bassist Cary Fletcher, formerly of the Detroit band Licking Stick, went looking for a new guitarist/lead vocalist and jammed with John Giaier, who had most recently played in the band Crawdad. The three musicians hit it off immediately, and a new power hard rock trio was born. I

n 1973, Detroit was clearly “Rock City”, featuring such local icons as Bob Seger, Alice Cooper, Grand Funk Railroad, Ted Nugent, and Mitch Ryder, and the high energy punch of Master Danse reflected this proud heritage. Unfortunately, this union would only last one year, and by the end of 1974 the power rock trio known as Master Danse had disbanded. What was left for posterity were only two live reel to reel recordings and one promo 45 single. Some forty-seven years later, the 45 found its way onto the internet and a small cult following of audiophiles was born, people who appreciate the raw power and high energy of early ‘70s rock. Bands like Master Danse and others from this era were riding the wave of transition from the pop rock sound of the ‘60s to an edgier sound that would eventually lead to metal and punk music.

With the help of modern-day tape restoration techniques, the two live recordings were restored, and together with the 45, the best versions of the eight songs that have survived the decades are featured on this album. Although recorded live forty-eight years ago on a two-track stereo tape recorder, you can still feel the power of Giaier’s Marshall stack, Fletcher’s twin Acoustic 360 amps, and the relentless attack of Riss’ Ludwig drums. So, sit back and enjoy. Rock on!

TRACK LISTING

Side One
1. Detroit City
2. Givin' In
3. I. O.U.
4. Sunday Morning
Side Two
1. Train To Love
2. We're Not Alone
3. Feelin' Dead
4. En Route To Fame

Legendary New York band M'lumbo distil experiences from their pre-pandemic shamanic travels into their stunning new album The Summer Of Endless Levitation. The eight-track vinyl LP is an avant-garde take on folk music informed by painter and sculptor Jean Hans Arp's 'Biomorphic' works and it serves as a sonic renewal of self.

The cult M'lumbo collective has been a legendary and groundbreaking act since first forming in the mid-80s. They cross genre boundaries as they draw on jazz, world, electronic, rock and experimental music that escapes the commercial world and take you into another realm entirely. There is no limit to their sound; each member brings their own cultural background to the mix, making the band all the more unique.

As the coronavirus pandemic struck, three members of the band Rob Ray Flatow, Paul-Alexandre Meurens and Brian O'Neill under-took a regimen of shamanic traveling in New York City. The experiences led them to spontaneously compose and perform a suite of pieces, informed and inspired by Jean Hans Arp's works but also by the feelings of isolation and indefinite exile yet to come in their urban environment.

Compared to the works they have done as part of the larger M'lumbo band, this album is a more modest and naive affair that is "a vehicle for the renewal of feeling using only a few instruments - acoustic and electric guitar, keyboard, flute, small percussion, kalimba and clarinet - and locating a sense of both the deep sadness and uplifting powers of reverie."

'There Are No Words' kicks off with heavenly chords and organic percussion that recalls the jungle jazz of Don Cherry, then 'Shoreline' is a five-minute dub with percolating rhythms and new age melodies before the soul-soothing acoustic guitar of 'The Afternoon Levitation' blisses you out on a sunny day. The perfectly entitled 'Swoon' is another gloriously uplifting piece of musical spirituality that fuses the electronic and synthetic with the ancient and ritualistic. There is more jungle jazz, big-band horn work and cosmic synth modulations of 'Open The Heavens' while 'Quanta' is a shuffling, jumbled mix of radiant chords, wigged-out electronic lines and celestial charm. 'Planetfall' goes from free-form jazz to double-time techno and back to cathartic ambient. The final trio of tracks conjures up everything from the transcendental jazz of Alice Coltrane to the cinematic downtempo of Calm.

TRACK LISTING

A1. There Are No Words
A2. Shoreline
A3. The Afternoon Levitation
A4. Swoon
B1. Open The Heavens
B2. Quanta
B3. Planetfall
B4. The Great Clock

Reflections of the Sun is a collection of new music that see John Rocca experiment with a more laid back side to his musical personality. John is best know in Jazz Funk circles for his 1980s self funded, self produced and self released Brit Funk classic 'Southern Freeez', and as the band Freeez's founder.

Much of the album is also somewhat reflective. A personal and emotional reflection on John's life - the tracks a nod to John's varied musical pasts. Sounds, a pondering upon his collection of global influences and his life experiences over the years; Genre, the pulse of today, societal, musical or otherwise - but not easy to place as is John's character; Lyrics, the present dilemmas we face as humanity, whilst reflecting on our own private and deepest human feelings, of life and, of love in all its wonderous forms.

Musically, the 'Reflections of the Sun' album casts a glimpse back to Rocca's Brit Funk roots growing up amongst 1970s classic Jazz Funk and Soul, while also blending inspiration from his 1980-90s electronic influences topped off with everything else he has seen and heard on his life travels since then.

Giving a nod to John's own past while bringing Reflections of the Sun up to date was completed by adding elements of London's re-surgent and vibrant jazz scene. Not so different from John’s own early days jamming with Freeez, he is accompanied on all the album's tracks by his two young nephews and highly respected jazz musicians, Benjamin Rocca on keyboards and Joel Rocca on Saxophone. The two youngsters are known on the current London Jazz scene as the "Rocca Brothers".

The album's title track, "Reflections of the Sun" refers to how humanity, gorging on the sunshine that brings life to everything, also has a tendency to reflect the hellishness of the sun itself. Comparing our self-destructive nature with our planet's volumes of un-ending beauty.

TRACK LISTING

A1. Angel
A2. Close Your Eyes (Take The Ride)
A3. Dream, LoveB1Reflections Of The Sun
B2. I’ve Known Love (the Feeling Of Love)
B3. Open Spaces, Open Minds

• 68 track 3CD box set celebrating the Leeds’ independent scene of the 1980s.

• Featuring Soft Cell, Sisters Of Mercy, Gang Of Four, The Wedding Present, Scritti Politti, The Mission, and many more.

• Including The Mekons, CUD, Delta 5, The Pale Saints, Girls At Our Best, Age Of Chance, The Bridewell Taxis who all stamped their mark on the indie charts and were regulars/favourites on John Peel’s radio show.

Like many Northern cities, Leeds enjoyed an explosion of music triggered by the big bang of punk rock in 1977. Indie labels sprung up to cater for a new wave of bands, who carved their own identity as the 80s dawned. ‘Where Were You’ is the first comprehensive anthology of Leeds’ independent music from that period, through to the end of the 1980s. From punk to goth, indie pop to industrial dancefloor, out-and-out pop to underground psychedelia, the four hours’ worth of recordings here are a celebration of the musical diversity emanating from the city’s studios and clubs.

Co-compiled by Benoit Farvak (Salvation) and Richard Rouska (Rouska Records), ‘Where Were You’ also boasts numerous obscurities which make their debut on CD – including many tracks taken from records now worth a small fortune on the collector’s scene. Overall, this is a fitting tribute to the legacy from one of the UK’s finest northern musical cities.

TRACK LISTING

DISC ONE
1. THE MEKONS Where Were You
2. ROUGE Have You Seen Gene
3. JERKS Cool
4. RATS AND DELICIOUS No Time
5. AGONY COLUMN (I Had It) All Worked Out
6. THE NEAT Hormones In Action (In My Heart)
7. GANG OF FOUR Damaged Goods (EMI Version)
8. SCRITTI POLITTI Messthetics
9. THE CITY LIMITS MorseCode Messages
10. EXPELAIRES Sympathy (Don't Be Taken In)
11. THE ALWOODLEY JETS Crash ‘N Burn
12. GIRLS AT OUR BEST Getting Nowhere Fast
13. SHAKE APPEAL My Own Way
14. DELTA 5 You
15. KNIFE EDGE Favourite Girl
16. MUSIC FOR PLEASURE The Human Factor
17. THE SQUARES Buddy Holly
18. MIRROR BOYS At Tiffanys
19. DANCE CHAPTER Anonymity
20. THE BOYS Let It Rain
21. SOFT CELL A Man Can Get Lost
22. ABRASIVE WHEELS Army Song
23. ICON A.D. Fight For Peace
24. THE EXPELLED Government Policy
25. THE UNDERDOGS East Of Dachau

DISC TWO 
1. THE SISTERS OF MERCY Temple Of Love
2. THE MARCH VIOLETS Religious As Hell
3. RED LORRY YELLOW LORRY Beating My Head
4. ANABAS Barricades
5. THE THREE JOHNS Do The Square Thing (7” Version)
6. VICIOUS PINK Cccan’t You See
7. TOM FAZZINI 16 Vessels
8. ANNIE HOGAN Executioners Song (Kickabye)
9. DÉJÀ VU Cut The Cross
10. FLOWERS FOR AGATHA Presentation
11. XERO SLINGSBY AND THE WORKS Hurricane Damage In Leeds (Live)
12. THE HOLLOW MEN Late Flowering Lust
13. ROSE OF AVALANCHE Goddess
14. THE CASSANDRA COMPLEX Moscow Idaho
15. SURFIN DAVE AND THE ABSENT LEGENDS Stateside Centre
16. AGE OF CHANCE I Don't Know And I Don't Care
17. THIRD CIRCLE Last Night Was The Best Night Of My Life
18. THE WEDDING PRESENT You Should Always Keep In Touch With Your Friends
19. PINK PEG SLAX Boy From Leeds
20. DUSTDEVILS Seeds In The Spoil
21. THE MISSION Wasteland
22. SALVATION Thunderbird

DISC TTHREE
1. THE RHYTHM SISTERS Saturday Sunday Lazy Leeds Afternoons
2. RITZUN RATZUN ROTZER Noodleman
3. THE SINISTER CLEANERS Longing For Next Year
4. THE PROWLERS Life’s A Mystery
5. SON OF SAM Goodbye Junkie Jim…
6. LEN LIGGINS Life In Leeds City
7. GOOD SHEPHERDS Wallpaper Man
8. WMTID Go Big Red
9. MDMA Evidence
10. DRUG FREE AMERICA DayGlo Pussycat
11. THE VAYNES Lick The Dirt
12. BAZOOKA JOE Hiding From The Rentman
13. CUD I've Had It With Blondes
14. THE SNAPDRAGONS The Things You Want
15. GROOVIN’ WITH LUCY Lenny’s Lament
16. PURPLE ETERNAL Trip#67 (live)
17. BRIDEWELL TAXIS Wild Boar
18. GHOST DANCE Celebrate
19. PALE SAINTS Sight Of You
20. GOLD FRANKINCENSE & DISK DRIVE Character Assassinator
21. THE EDSEL AUCTIONEER Our New Skin

The Beasts of History is the new album from Michael James Tapscott, featuring contributions from members of Gospelbeach, Howlin' Rain, Sugar Candy Mountain, Papercuts, Elephant Micah, Tarnation, Odawas, Yea-Ming and the Rumours, and more. Nearly four years in the making, the album pulls from disparate strands of American ephemera to create a uniquely captivating collection of songs that play out like one act plays, full of doomed anti-heroes and beautiful losers; calling to mind the small town dramas of Bobbie Gentry, the golden age pop of The Beach Boys, the lonely jangle of The Beau Brummels, the echoing melodies of Lee Hazlewood, and the experimental ethos of ambient folk. Highly anticipated sophomore album from Michael James Tapscott. 

TRACK LISTING

1. Reno News (Intro)
2. Cheap Hotel
3. The Hills Of Montreal
4. Bobby’s Army Jacket
5. Roll, Little Sparrow
6. The Lonely Evergreen
7. Bobby’s Reprise
8. Los Peñasquitos Falls
9. When Lisa Got Pregnant
10. Her Mysterious Past
11. Leopard Print Coat

The third full-length from Margaret Glaspy, Echo The Diamond emerged from a deliberate stripping-away of artifice to reveal life for all its harsh truths and ineffable beauty. Like the precious gem of its title, the result is an object of startling luminosity, one capable of cutting through the most elaborately constructed façades. “This record came from trying to meet life on life’s terms, instead of looking for a happy ending in everything,” says the New York-based musician. “The whole experience of creating it felt like effortless catharsis.”

Produced by Glaspy with co-production from her partner, guitarist/composer Julian Lage, Echo The Diamond expands on the frenetic vitality of her widely acclaimed debut Emotions and Math—a 2016 release The New Yorker hailed as an album “in which pretty songs often turn prickly, enriched by carefully measured infusions of dissonance and grit.” This time around, Glaspy worked with drummer/percussionist David King of The Bad Plus and bassist Chris Morrissey (Andrew Bird, Lucius, Ben Kweller), recording at Reservoir Studios in Manhattan and embracing an intentionally unfussy process that left plenty of room for spontaneity

TRACK LISTING

1. Act Natural
2. Get Back
3. Female Brain
4. Irish Goodbye
5. I Didn’t Think So
6. Memories
7. Turn The Engine
8. Hammer And The Nail
9. My Eyes
10. People Who Talk 

Born in Johannesburg, South Africa, and now calling Colorado home, Gregory Alan Isakov is a lifelong traveler, farmer, and Grammy-nominated folk artist

Since his debut in 2003, Isakov has released four full-length studio albums with over 1 million in sales and has toured widely, building a devoted international audience.

STAFF COMMENTS

Laura says: Really excited about this LP. His previous releases have all been wonderful. That voice....

TRACK LISTING

The Fall
Before The Sun
Appaloosa Bones
Silver Bel
Watchman
Miles To Go
Terlingua
Mistakes
One Day
Sweet Heat Lightning
Feed Your Horses

We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at number one in the UK Albums Chart. We Started Nothing spawned no less than six hit-singles, including "That's Not My Name", which reached number one on the UK Singles Chart. Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy and Brit awards. The Ting Tings won the MTV Award for best UK act and "Shut Up and Let Me Go" won the award for best UK video.

TRACK LISTING

Side A
1. Great DJ
2. That's Not My Name
3. Fruit Machine
4. Traffic Light
5. Shut Up And Let Me Go

Side B
1. Keep Your Head
2. Be The One
3. We Walk
4. Impacilla Carpisung
5. We Started Nothing

Welcome To The Monkey House is the fourth studio album by The Dandy Warhols and was originally released in 2003. It was produced by front man Courtney Taylor-Taylor and Nick Rhodes of Duran Duran. The album features musical and production collaborations with Simon Le Bon, Nile Rodgers, Tony Visconti, and Evan Dando. The album track "I Am A Scientist" was written by David Bowie and features Nile Rodgers on rhythm guitar. The first single "We Used To Be Friends" went on to become the theme song for the popular TV series Veronica Mars and its film adaptation, and follow-up singles were "You Were The Last High" and "Plan A".

The musical style of Welcome to the Monkey House was described by XRay Magazine as a "belligerent, snotty-nosed, speed-fueled romp through sinister electro punk, slightly corrupt melodic rock and skew-whiff handle of 80s glam-sodden pop, albeit refracted through a knowing noughties thrift store cool". The album cover artwork was created by Ron English and is a prime example of the artist's signature mash-up style, featuring a banana half-exposed by a zipper down its peel in a reference to the iconic Andy Warhol album covers for The Velvet Underground's The Velvet Underground with Nico, and The Rolling Stones's Sticky Fingers.

TRACK LISTING

Side A
1. Welcome To The Monkey House
2. We Used To Be Friends
3. Plan A
4. The Dope (Wonderful You)
5. I Am A Scientist
6. I Am Over It
7. The Dandy Warhols Love Almost Everyone
8. Insincere Because I

Side B
1. You Were The Last High
2. Heavenly
3. I Am Sound
4. Hit Rock Bottom
5. You Come In Burned

Jake Shears turns his lifelong love affair with club culture into his most ambitious pop music to date with his brand new album, Last Man Dancing. The new album sees the rollerblade his way unapologetically through pop culture. The album was brought to vivid life by Jake Shears and a close crew of collaborators, including head-turning features from Kylie Minogue, Jane Fonda, Amber Martin, and a pre-Renaissance turn from the iconic Big Freedia.

The album launches with the massive single ‘Too Much Music’, which – from its glam rock overture, dramatic strings and irresistible Nile Rodgers groove – announces itself immediately as a definitive Jake Shears anthem. Last Man Dancing is a life affirming record for anyone who has felt lost – out of love, on a night out, or in the modern world – but kept moving anyway.

TRACK LISTING

A1 Too Much Music
A2 Do The Television
A3 Voices (feat. Kylie Minogue)
A4 I Used To Be In Love
A5 Really Big Deal
A6 Last Man Dancing
B1 8 Ball (feat. Le Chev)
B2 Devil Came Down The Dance Floor (feat. Amber Martin)
B3 Mess Of Me
B4 Doses (feat. Big Freedia)
B5 Radio Eyes
B6 Diamonds Don’t Burn

Swervedriver are an English alternative rock band formed in Oxford in 1989 around core members Adam Franklin and Jimmy Hartridge. Mezcal Head is their second studio album, originally released in 1993. The album includes their most successful single "Duel" which was awarded NME's Single of the Week. The album became one of the hottest albums in 1993 and was recognized a masterpiece from start to finish of vintage dream-pop/shoegaze on AllMusic. Mezcal Head was ranked at number 265 on Spin's "The 300 Best Albums of the Past 30 Years (1985-2014)" list. Alternative Press also ranked it #39 and #90 on their "90 Greatest Albums of the 90s" and "Top 99 Albums of '85 to '95" lists respectively. Pitchfork Media Ranked the album #10 in their list of the top 50 shoegaze albums in 2016.

TRACK LISTING

Side A
1. For Seeking Heat
2. Duel
3. Blowin' Cool
4. Mm Abduction
5. Last Train To Satansville

Side B
1. Harry & Maggie
2. A Change Is Gonna Come
3. Girl On A Motorbike
4. Duress
5. You Find It Everywhere

The Oxford based alternative rock band Swervedriver continued to develop themselves by implementing different music into their alternative rock and shoegaze sound. Their first album Raise can be categorized as an album with a heavy sound, but also some melodic parts. Their direct approach of the shoegaze sound can be heard by listening to a song like "Rave Down". But they're mainly focusing on the noisy and distortion guitar lines. While listening to the classic "Son of Mustang Ford" you feel the roaring engine run and are drifting back into the American landscape. It's one out of the fascinating 9 tracks, with solid hooks and shiny guitar riffs. Twisted relationships get's their punchline on the epic "Deep Seat". The great debut album meant the start of a great career which hasn't been finished to this date.

TRACK LISTING

Side A
1. Sci-Flyer
2. Pile-Up
3. Son Of Mustang Ford
4. Deep Seat

Side B
1. Rave Down
2. Sunset
3. Feel So Real
4. Sandblasted
5. Lead Me Where You Dare...

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema.

In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie.

In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

TRACK LISTING

1. Merry Christmas Mr. Lawrence Main Theme (From “Merry Christmas Mr. Lawrence”)
2. Endroll (From “The Last Emperor”)
3. Rain (From “The Last Emperor”)
4. The Sheltering Sky Main Theme (From “The Sheltering Sky”)
5. High Heels Main Theme (From “High Heels”)
6. Wild Palms Main Theme (From “Wild Palms”)
7. Acceptance (From “Little Buddha”)
8. Snake Eyes Main Theme (long Version) (From “Snake Eyes”)
9. Bolerish (From “Femme Fatale”)
10. Bibo No Aozora (From “Babel”)
11. Small Hope (From “Hara-Kiri (Ichimei)”)
12. Yae No Sakura Opening Theme (From “Yae No Sakura”)
13. The Revenant Main Theme (From “The Revenant”)

These two tracks were initially released on separate singles, “The Rooster” was released on Duke (a Trojan sublabel) in 1970 whilst “The Saint” was released on Trojan the same year in 1970. This is the first time these two MCCook’s Boss tracks are released together and it is also the first re-release on 7inch vinyl single of these two rare and in demand hits. Cuban born Tommy moved to Jamaica when he was a little boy and became a pupil at the Kingston’s Alpha School where he took up tenor saxophone at the tender age of 11. The Alpha School was run by Catholic nuns and renowned for its outstanding musical education. After a stint in the US where he discovered the sounds of Coltrane, he went on to form the Skatalites in 1964 with Rolando Alphonso, Johnny Moore, Lester Sterling, Don Drummond, Lloyd Knibb, Lloyd Brevett, Jerry Haynes, and Jackie Mittoo. McCook, Drummond, Moore and Sterling were all students from the Alpha School. The Skatalites played their last show in August 1965 after Don Drummond's imprisonment for the murder of his girlfriend, Margarita. The break-up resulted in the formation of two studio bands, Rolando Alphonso & The Studio One Orchestra and… Tommy McCook & The Supersonics. The Supersonics were the house band for Arthur "Duke" Reids' label Treasure Isle. Its members came from The Skatalites with the addition of top new musicians. They were one of Jamaica's most talented and productive bands and covered successfully many genres from Ska and Rocksteady to Reggae and Dub.

TRACK LISTING

The Rooster
The Saint

This is the first re-release on 7inch vinyl single of the super rare killer single by The Pioneers released in 1968 on Amalgamated Records in Jamaica and on Doctor Bird in the U.K. that same year. The Pioneers were formed in 1962 by two brothers Derrick and Sidney Crooks and their friend Winston Hewitt later replaced by former Heptone Glen Adams. The Pioneers' early singles were not successful, and the group broke up in 1967 Sydney started working at Joe Gibbs shop and then in the studio where he met a talented new young singer: Jackie Robinson. The new Pioneers were reborn as a duo. They recorded several successful singles such as "Longshot" "Jackpot", "Catch the Beat" with Gibbs before joining producer Leslie Kong where they recorded Samfie Man which topped the Jamaican charts. They then recruited Geaorge Agard and became a trio again. They scored in the charts again with "Long Shot (Kick De Bucket)" a sequel to “Long Shot”, the tragic story of a race horse that never won and died racing! “Kick De Bucket” became an instant hit both in Jamaican and in the U.K. particularly among skinheads in 1969. More hits followed and the band moved to the UK in 1970. Over time, their sound changed and became more sophisticated and pop and they eventually recorded soul albums with Eddy Grant as a producer in 1976.

TRACK LISTING

Some Having A Ball
Whip Them

French producer, musician and DJ, Thomas Arroyo aka Laroye has over the last couple of years been dropping musical releases in all the right places: Atjazz , Vision Recordings and Freerange Records to name a few. Local Talk now get their mits on 'Let It Go' - a delightfull four tracker of beatdown house, dizzy broken beats and lashings of boogie-soul. 

From his studio in Brighton where he resides nowadays, Laroye has produced four highly musical compositions that recall a bit of DJ Nature and a bit of BITA; whilst fully staying within the Local Talk remit. 

STAFF COMMENTS

Matt says: Wavy broken beats, e-soul, beatdown house, all presented with positivity and executed with aplomb. Laroye gifts Local Talk with a real doozy of an EP. Check!

TRACK LISTING

A1. Beauty In Motion
A2. People Out There (you Gotta Do Whatcha Wanna Do)
B1. Let It Go
B2. Grateful

The artwork for TOPS’ fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS’ vocalist Jane Penney stares bare-faced down the lens – simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on the album explore. Penny's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at it's heart ‘I Feel Alive’ is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. ‘I Feel Alive’ is TOPS’ fourth full-length, following 2017's ‘Sugar At The Gate’ and follows singles "Echo of Dawn" and "Seven Minutes" from last year. 

TRACK LISTING

1. Witching Hour
2. Direct Sunlight
3. Take Down
4. I Feel Alive
5. Pirouette
6. Drowning In Paradise
7. OK Fine Whatever
8. Ballads & Sad Movies
9. Looking To Remember
10. Colder & Closer
11. Too Much

Something is happening around Donny McCaslin. The visionary saxophonist and composer will unleash a new body of work on Edition Records starting with two new singles in May 2022 to coincide with his European tour dates followed by full album release in 2023. Bursting with an unequivocal energy, drive and intent, Donny, who shot to attention as the bandleader behind David Bowie’s album ‘Blackstar’, is an Artist who wants to explore the unknown and to do so in his own way. A modernist thinker who will always put the Art over reward, always searching for something new to say.

TRACK LISTING

1. Stria
2. Fly My Space Ship
3. Hold Me Tight
4. Body Blow
5. Big Screen
6. Turbo
7. Landsdown
8. I Want More

Gilles Peterson re-imagines Lionel Loueke’s incredible and acclaimed album HH, released in 2020, featuring the music of his long-term mentor, the legendary Herbie Hancock, for release in 2022. Gilles Peterson and Lionel Loueke have long term respect for each other's music and when an opportunity to collaborate together came about, both jumped at the chance. The result is a brilliantly chaotic clash of worldwide club rhythms and guitar loops. The connection is the master Herbie Hancock - a massive influence on the London based DJ and the Beninese guitarist. Performing the music of his mentor HH, released on Edition Records in Sept 2020, was a pivotal album in Loueke's already fascinating journey from humble roots to illustrious career. Reimagined, refocused and reinvented by Gilles and co-producer Alex Patchwork (Ninja Tune) with parts re-recorded by Lionel, this is a kaleidoscopic view of HH which realises the full range of colours inherent within it.

TRACK LISTING

1. Tell Me A Bedtime Story Version
2. One Finger Snap Version
3. Watermelon Man Version
4. Butterfly Version
5. Driftin' Version
6. Hang Up Your Hang Ups Version

Kristin Hersh’s new album is a cinematic road trip; a series of personal vignettes from a fiercely independent auteur, sitting plush with layers of all-consuming strings and mellotron. It’s a watershed moment in a career overflowing with creative firsts and inspirational thinking; an elegant piece of personal reportage, a home movie caught in time.

Previously, the juxtaposition of light and dark has been essential to the drama of Throwing Muses and 50FOOTWAVE, but this solo set is something of a departure; more inward looking, quieter but outspoken, underpinned by background noise for ambience and awkwardness.

“Passion sounds less angry, more grateful, I think,” Kristin muses, “sweeter, sadder. And somehow, no less alive… over car engines and rain in New England and whistling ducks and wind chimes in New Orleans, it all sounds wistful to me.”

‘Clear Pond Road’ is a life-affirming statement, a further part of the jigsaw, a very personal memoir, from street signs to snapshots; a late blossoming and coming-of-age from a true icon of independence. The record is both intimate yet expansive, written largely within the confines of Hersh’s home, making the proceedings ever more personal.

“Few artists understand the intensity of living one’s art like Hersh” The Guardian

“A fearless rock innovator” New York Times.

TRACK LISTING

Side A
A1 Bewitched Reruns
A2 Ms Haha
A3 Dandelion
A4 Constance Street
A5 Thank You, Corner Blight
Side B
B1 St. Valentines Day Massacre
B2 Reflections On The Motive Power Of Fire
B3 Eyeshine
B4 Palmetto
B5 Tunnels

Originally released in 1976 on the Swiss label Delta Production, Contrast is a highly collectible and very rare example of Swiss Jazz that is now re-issued by BBE Music. Its new release is due in no small part to the diligence, enthusiasm and curatorship of IF Music's Jean-Claude. With mint copies of the original going for upwards of £350 the release of J&F Quintet's Contrast is a gift to all serious Jazz heads and collectors. Recorded by founding band members Stefan Schneller, Donat Beer and Toni Schädler, with the addition of drummers GieriBievi and Peter 'Huck' Hug and bassist Andri APiorta, Contrast fuses Jazz with music from the Swiss-Romansh traditions to create an absolute masterpiece of a debut album. Surprisingly, Contrast also constitutes the only release by J&F Quintet as the members were subsequently to go their separate ways to work on other projects. It is thanks to Jean-Claude's determination and ear for great music that we are able to hear this fantastic album. After hearing it played to him at a record fair, Jean-Claude set about tracking down the original members of the band with a view to re-issuing Contrast. Post pandemic he was able to contact the band members who, rather fortuitously, still had the original master tapes. It is from these tapes that the album has been beautifully remastered ready for release on BBE Music. Contrast by the J&F Quintet will be released on BBE Music and will be available as both 180 gramme vinyl and high quality digital formats.

TRACK LISTING

1. White Arena
2. L'Auca
3. Transistor
4. Shagalak
5. Sint-Flute
6. Basilio

Son Volt’s latest record, Day of the Doug, revisits the music of legendary Texas troubadour Doug Sahm. But it’s much more than fond remembrance and colorful tribute. It is a summoning and a celebration of a songwriter and performer whose work forged country, Tex-Mex, rock, rhythm and blues, folk, and psychedelia into an utterly unique American sound. Sahm’s 50-year career was a restless and relentless quest for the Holy Grail of “the groove.” He played pedal steel with Hank Williams, Sr. as a kid before making three Top 40 hits with the Sir Douglas Quintet and recording a dizzying array of solo works with a passel of shifting personas on a carousel of record labels. Son Volt’s eleventh release since 1995’s Trace steps confidently on the trails Sahm blazed. Like any journey to find a grail, Day of the Doug also seeks out all the things that make young artists fall in love with making music in the first place: adventure, youth novelty, and a chance to snatch a bit of immortality.

TRACK LISTING

1. Doug Intro
2. Sometimes You’ve Got To Stop Chasing Rainbows
3. What About Tomorrow
4. Beautiful Texas Sunshine
5. Float Away
6. Yesterday Got In The Way
7. Keep Your Soul
8. Dynamite Woman
9. Huggin Thin Air
10. Juan Mendoza
11. Poison Love
12. Seguin
13. It’s Gonna Be Easy
14. Doug Outro

“It took a few trips through the underworld, and cutting through the illusory to arrive at a more ripened version of true love and freedom.” Sitting amongst the fruit orchards of Corralitos, California, Angelica Rockne reflects on the recent past. Her forthcoming album “The Rose Society” has been in a process of distillation for five years now. “It sounds like a lifetime,” she remarks, “but really it’s been equally ephemeral as it has been eternal.” Going through some of life’s greatest rites of passage and the accompanying gravity of their transformations will do that to you.

TRACK LISTING

1. Age Of The Voyeur
2. The Rose Society
3. The Distance Is High
4. White Cadillac
5. Protection, Prayers And Vigilance
6. Crystalline
7. The Undoing
8. Path Of The Rose
9. Ripe To Ruin
10. The Night Dreams Of You

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and never- before-heard gems from some of the most talented emerging artists.

TRACK LISTING

1. Kutiman - Badawee
2. El Khat - Ya Raiyat (Radio Trip Edit)
3. Boom Pam - Uniton
4. Baharat - The Egyptian
5. Les Dynamites - Pop Oud #2
6. Sababa 5 & Shiran Tzfira - Manginat Mahapeha (feat. Matan Caspi)
7. Sababa 5 (feat. Yurika) - Nasnusa
8. Sababa 5 - Baksheesh
9. Eje Eje - Saved From The Jazz
10. Yossi Fine & Ben Aylon - Peres
11. Yuz - Galgalit
12. Baharat - Parsley Disco
13. Romano - Six
14. Buttering Trio - Little Goat (Iza Ktana)
15. Koy Kardeşler - Shürük
16. Şatellites - Deli Deli
17. Cherry Bandora – Esý

**Limited edition single-sided LP 300 copies**

David Horridge's unreleased bedroom studio tape material (1982).

Shortly after releasing the inimitable Light Patterns, David Horridge recorded a handful of demos. These sole artifacts from Dave capture the same Mancunian melancholy presented on
Light Patterns, and offer an insight into David’s contributing piece of the puzzle. It comes as no surprise that every track laid to tape from that era is an absolute gem.
David’s playing comes in the form of well-timed melodies and carefully placed basslines.

Nothing forced or rushed, and each movement really sits with a mood. Journey Within is an even more sedated, mellow effort than Light Patterns. The songs were perhaps even sketches for a
follow up that never manifested. The album’s greatest strength is in setting a peaceful, pastoral mood that allows for a relaxed listen all the way through. Hypnotic stuff.
The only deviation is the final song, One Note Bossa, which came as a surprise with its use of a drum machine. A feature that demonstrates what might have been were David have continued to
experiment and release albums...

RIYL: Durutti Column, Woo, Pat Metheny, and Steve Hiett.

TRACK LISTING

A Pale Smile
At First Sight
Journey Within
Dark River
One Note Bossa

Slow Pulp started to gain traction based off their two debut releases, EP2 and Big Day. This release on vinyl shows the best of the band’s roots on one packaging. Slow Pulp has gone on to sign to indie tastemaker label Winspear to release their highly acclaimed debut full-length, Moveys. Slow Pulp’s remarkable debut album Moveys is a testament to hard-fought personal growth. In the process of making the record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band's resourcefulness and resilience. As the band was in the midst of finishing the album, Massey's parents got in a severe car accident forcing her to pause recording and return home to Madison, WI and take care of them. A week later, the pandemic hit. Massey was separated from the rest of her bandmates and unsure how the album could be finished. With Stoehr leading production duties, the band managed to continue recording in an isolated, post-COVID world. Thankfully most instrumentals were already written. As Massey's father Michael recovered from his injuries, the two worked on completing her vocal takes from his home studio, sending them to Stoehr for mixing.

TRACK LISTING

1. Brett Favre
2. Bundt Cakes
3. Die Alone
4. Husband Pillow
5. Houseboat
6. Preoccupied
7. Do You Feel It
8. New Media
9. High
10. Young World
11. Steel Birds
12. At Home

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

TRACK LISTING

A1. All Ages 
A2. Afternoon At Bärenquell 
B1. Sanders Groove 
B2. Soft As Moonlight 

Terr’s debut LP 'Consciousness As A State Of Matter’ arrives on green and orange split double-vinyl, limited to a pressing of just 400 copies, housed in a sleeve of hallucinatory artwork from designer Sebastian Ofuszak.

Across eleven tracks, Terr continues a long, fulfilling journey in electronic music with a visceral, vulnerable full-length statement inspired by tireless and timeless innovators in the history of electronic music such as Giorgio Moroder, Wendy Carlos and Phil Oakey. Achieving a delicate, wide-eyed chemistry between the catharsis of the dancefloor and the ever-renewing promise of pop, 'Consciousness As A State Of Matter’ includes and expands upon the vision of singles ‘Only For Tonight’, ‘Tale of Devotion’ and ‘Layers’.

TRACK LISTING

A1. Tale Of Devotion (Sunny Version)
A2. Only For Tonight
B1. Warp Drive
B2. Energy Sync
B3. Time Crystal
C1. Wings Of Time
C2. Layers
C3. I Am Here You Are There
D1. Imagination
D2. Final Dance (with Coloray)
D3. States Of Mind 

Josh Wink is someone who needs little introduction having created some of the biggest and most influential club tracks over the past 30 years including I’m Ready, Don’t Laugh, Superfreak, Talking To You, Meditation Will Manifest and Higher States Of Consciousness to name just a few out of his never ending catalog. He has recorded on some of the biggest labels of house and techno including, Nervous, Strictly Rhythm, R&S, Bedrock, Cocoon, Ellum Audio and PokerFlat. In 1994 he started Ovum Recordings which is still as strong as ever, and is heralded as a buy on sight imprint for lovers of deep house, techno and acid.

Josh and Jimpster first became acquainted when Jamie was asked by Josh to remix a track from his 2009 LP When A Banana Was Just a Banana, and the favor was retuned when Josh remixed Jimpster’s Alsace and Lorraine in 2011. The pair haves tayed in touch since, cut to 2023 and we’re excited to present you with a full signature sounding Wink EP made with Freerange in mind, right in time for the summer.

Autonomic Journeys leads the charge with a track which hits that sweet spot between pumping Detroit techno, deep house atmospherics and twisted acid. 909 drums, 303 squelch and 106 pads ensure Roland is well represented in the track and all underpinned by a fat rolling bassline.

Pan Gloss gives us a chunky slice of bouncy percussive house which exudes a positive energy as it unfolds over 7 minutes. Fat stabs sit front and centre while chiming arpeggios and acid line dance around the beat making for a track which makes you move as much as get lost in.

Closing out the release things go deeper on San Guine, with a snappy groove laying the foundation for lush sine stabs, filtering pads and a hooky cross-rhythm analogue synth line.

TRACK LISTING

A1. Autonomic Journeys 
B1. Pan Gloss 
B2. San Guine 

Balmorhea have recorded a second DG album, Pendant World. It features the band’s founder members Rob Lowe and Michael A. Muller alongside a great line-up of guest artists: violinist/vocalist Aisha Burns, cellist Clarice Jensen, experimental jazz saxophonist Sam Gendel, Joseph Shabason on tenor sax and flute, clarinettist Jonathan Sielaff, percussionist Jason Treuting, and vocalists Steph Jenkins and Lisa Morgenstern. Jonathan Low adds synths and percussion and also produced the album.

The latest by Arizona desert brotherhood Alex and Andrew Jarson aka Body Of Light further hones their smoldering strain of tempestuous synth-pop into a transformative suite of anthems, reveries, and reckonings: Bitter Reflection. Written in the wake of 2019’s neo-EBM classic, Time To Kill, they sifted inspiration from hidden moments within their own arcana – childhood tapes, home movies, abandoned demos – asking themselves the question: “How can we make this grow?” Sampled snippets of voice, noise, synth, and field recordings flicker in the periphery of these 11 tracks, murmuring like nostalgias half-forgotten, or displaced memories. It’s music pulled between twin flames of truth and desire, romanticization and reality, catharsis and control, born of a bond sealed by years, dreams, and blood.

Working with Telefon Tel Aviv co-founder Josh Eustis in Los Angeles, the brothers incorporated an expanded array of live instrumentation – piano, bass, saxophone, acoustic guitar – in addition to vintage Akai samplers, Moogs, and archaic hardware, giving the album an eclectic, unpredictable palette. Opener “Get It Right” showcases their impressive refinement: sleekly cold drum machinery builds to a swooning chorus of synths and piano, then suddenly slips into a dream sequence bridge of strummed guitar and echo-shrouded vocals, before surging back to the main melody. Throughout, the songs shift gears and moods in evocative ways, as if bending to fleeting thoughts or lengthening shadows. Simmering synth lament “Strike The Match” captures the Jarsons’ unique technique of co-crafted lyrics, accruing meaning as the world turns; though written long before, the track ended up being recorded the day Russia invaded Ukraine (“I fall asleep to the candlelight / things will be different but not tonight / it wouldn’t be like you to strike the match / over and over, I can’t understand”).

A trio of intriguing instrumentals deepen the album’s scope, echoing the duo’s early experimental era as part of the influential Ascetic House collective. “Fortia,” “Hyena,” and “Deepcolorlights” drift in a prismatic gauze of whispered synths and oblique minutia, in the spirit of Boards of Canada at their most hushed and haunted. Elsewhere the record spins through a gallery of the band’s ongoing fascinations: Depeche Modeesque declarations of dread and excess (“This Conversation”), brooding dance floor epiphanies (“Out Of Season”), smooth Thomas Dolby city skyline melancholias (“Never Ever”), lovesick looking glass ballads laced with Art Of Noise orchestral stabs (“On This Day”). A new age demands new waves, and Body Of Light belongs at the forefront of a resurgent generation fusing modern methods with the sounds of futures past. Singer Alex Jarson sees their muse clearly, at the axis of anguished transition, temporal collapse, and, just possibly, the brink of hope: “Time is dysphoric. The dream breaks down. Everyone’s beginning to panic, but in the end something will come from it.”

TRACK LISTING

1. Get It Right
2. Strike The Match
3. This Conversation
4. Fortia
5. Bitter Reflection
7. Out Of Season
8. Never Ever
9. On This Day
10. Hyena
11. Last Repose
12. Deepcolorlights

The sound of Blue Note had been embedded in hip-hop thru sampling & remixes since its early days but Madlib raised the bar when the DJ, producer, rapper & multi-instrumentalist invaded the Blue Note vaults for his 2003 masterpiece Shades of Blue, a visionary album featuring remixes & reimaginations of classics by Donald Byrd, Bobbi Humphrey, Ronnie Foster, Bobby Hutcherson, Wayne Shorter & more.

This 2-LP Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal

Robert Glasper’s 2005 Blue Note debut Canvas signaled the arrival of a singular new voice in jazz and his 2007 follow-up In My Element solidified his status as a rising star who was taking the music someplace new. Featuring bassist Vicente Archer & drummer Damion Reid, the album expanded the possibilities of where a modern jazz piano trio might go by delving further into his hip-hop & gospel roots.

This 2-LP Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal.

On STRFKR’s newest offering, Running Around (Skeletron Mix), the band continue to deliver another batch of tracks full of dance-heavy grooves and irresistible melodies. Over the years and through the course of a discography that includes not just multiple studio albums but a wealth of fan-focused auxiliary releases, STRFKR’s combination of thoughtful lyricism and party starting hooks have made them a consistent success with critical music listeners and show-goers. They’ve played festivals like Coachella and Outside Lands, wowed audiences on impressive stages the size of Red Rocks, toured through Asia, Europe and Mexico and stacked up hundreds of millions in streaming numbers, all while continuing to grow as artists.

TRACK LISTING

1. Running Around (Skeletron Mix)
2. Waited For It (Skeletron Mix)

Soul Jazz Records’ seminal double LP release, Jackie Mittoo - The Keyboard King at Studio On’, now available on black vinyl.

From forming The Skatalites at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the Sixties, writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the Seventies, DJ music and Dancehall were based upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.

This compilation features the work of Jackie Mittoo at Studio One. It features music recorded as a solo artist (as opposed to the numerous singers that he accompanied). Most of these are taken from his recordings in the mid- Sixties where he was recording on an almost daily basis at Studio One’s Brentford Road studios, developing the funky reggae sound that was his trademark.

Jackie Mittoo is as much an icon of Reggae as he is to fans of Funk music. He is without doubt the funkiest keyboard player ever to come out of Jamaica.

TRACK LISTING

1. Get It Up And Get It
2. Black Organ
3. Stereo Freeze
4. Totally Together
5. Hot Tamale
6. Reggae Rock
7. Oboe
8. Juice Box
9. Summer Breeze
10. P. Cafe
11. Henry The Great
12. Killer Diller
13. Wall Street
14. Darker Shade Of Black

Rare Jazz-Funk album from 1978 by Headhunters founder. Featuring an all-star lineup including Herbie Hancock.

Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.

Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THE group responsible for their ground-breaking fusion and jazzfunk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums. Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.

Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.

His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed). On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.

With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.

TRACK LISTING

Black Octopus Part 1 - Many Directions
Black Octopus Part 2 - Eight Ways Of Love
Funk Times Three
Burning In The Heat (of Your Love)
Tiptoe Thru The Ghetto

Miles Davis: "I could definitely hear right away that this was going to be one of the baddest motherfuckers who had ever played a set of drums.”

The Tony Williams Lifetime's Emergency! is a furious, stunning, seminal album. In 1969, it's explosive sound divided critics in both jazz and rock but is now rightly regarded as groundbreaking. A musical statement so bold and irreverent that it was revolutionary, it's one of the most important records you will ever hear. With Emergency!, provocative percussionist Tony Williams unified the most vital sounds of the era and galvanised the creation of jazz fusion. A sprawling double LP that shattered the boundaries between jazz and rock, it forged fresh frontiers by unleashing dense, courageous and fantastically mysterious music.

The group was founded by Tony Williams, a member of Miles Davis’ radical 1960s quintet, out of his desire to fuse the influences of modern jazz and rock music. To effectively meld the scorching bop of Coltrane with the raging rock of Hendrix, in the process crafting, as Mojo put it, "jazz-rock's equivalent of Are You Experienced?". The album's urgent title was profoundly significant for Williams: “It was an emergency for me to leave Miles and put that band together (...) and I wanted to play an emerging music that was my own." The band he formed was one hell of a power trio, comprising nothing but raw virtuosity: Williams's colossal drumming, John McLaughlin's pioneering, aggressive guitar playing and Larry Young's freeform organ work.

The album's sound is incredibly fierce and inordinately intense. Indeed, the group were famed for playing “louder than rock’n’roll”, as Herbie Hancock said of going to hear them live in 1969: "This is something new...It was exciting and very arresting. It snatched you. It yanked you out of your seat.” Ian Carr, of Nucleus, was equally impressed: "The only other comparable band that existed ...They were incredibly loud, but we liked what they were doing. Fundamentally they had a different approach from ours, with some very highly arranged things that featured Larry Young's organ blending with the guitar, as well as intricate passages where Tony doubled the melody on the drums."

Like all the very best records, Emergency! takes multiple listens for your brain and body to decipher everything going on, to truly process and appreciate the details that our senses are throwing at us. It's a mesmerising, rough sound yet the intuitive interplay of all 3 musicians is super-tight. The tunes are strung out and jamming but retain a tight rhythmic focus.

The incendiary title track immediately presents jazz-rock’s chaotic birth. After Williams's ominous snare-roll signals the brewing storm, the snarling band blasts its way through the gate in truly breathtaking fashion, fuzzed-up wahedout guitar riffs vying for prominence with gnarled, insistent organ. Thrillingly, Williams manages to both acrobatically crash over every element of his drum kit while keeping the whole groove undeniably funky. "Beyond Games" is a gloriously volatile freeform, featuring Williams' bugged out vocals, whilst the 12-minute "Where" is another deep, wild jam. It's disorientating and humid with weird rhythms, abrupt vibe shifts and semi-classical lines running between guitar and organ. It's like nothing else you've ever heard, absolutely vital.

With the buoyant “Vashkar”, we begin to experience jazz-rock's many angles; imaginative melodics, taut dynamics and as torrent of searing heat. Perhaps the most economical track on Emergency!, it's the most instant. In a recent retrospective review in Pitchfork, Emergency! received a monumental 9.0 ranking. The writer Hank Shteamer correctly gushed: "Driven by a tumbling Williams pulse, the trio dances through the complex stop-start theme, ending each iteration with a dramatic full-band rest. Then, in the middle of McLaughlin’s scrambling solo, Williams starts playing an embryonic version of an extreme-metal blastbeat, alternating snare and bass in rapid succession while rising precipitously in volume, as Young joins in with shuddering note clusters. During Young’s solo, the organist seems to incite Williams to repeat the move with his increasingly frenzied lines, and soon all three musicians are hurtling toward a supernova climax." WOW!

The laconic "Via the Spectrum Road", a brilliant pop-psych tune, was sampled by Showbiz & AG on their classic debut LP. It oscillates between a tranquil funk groove and strutting improv interludes. The pyrotechnic jam "Spectrum" wakes things up again with pure, molten jazz lava and crazy soloing from all involved. A breathtaking, kaleidoscopic 13-minute cycle through ferocious noise, "Sangria For Three" is a sublimely frenetic detonation of distilled (acid) jazz rock. To quote Shteamer again, "Don’t let the track’s breezy title fool you: As much as, say, “Sister Ray” the year before or “Fun House” the year after, this is punk before punk." Closer "Something Spiritual" finishes this jawdropping set with a driving, unrelenting heavy guitar and organ freakout, backed high in the mix by Williams's untamed funk before unsettled dissonance rides us out.

Listeners will be struck by the timelessness of Emergency!; dank, tranceinducing voodoo jazz that's intellectually challenging at the same time as viscerally thrilling. The blurred cover photo, whereby the convulsing vibrations of this sonic apocalypse ensure it looks exactly as the record sounds - out of focus - has been delicately restored at Be With HQ. Mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios, the magnificent grit and spontaneity remains dizzyingly intact. If you're a jazz fusion fan and don't already have this, consider ownership of this record as an Emergency!

TRACK LISTING

A1 Emergency 9:35
A2 Beyond Games 8:20
B1 Where 12:09
B2 Vashkar 4:58
C1 Via The Spectrum Road 7:50
C2 Spectrum 9:52
D1 Sangria For Three 13:08
D2 Something Spiritual 5:38

Pitchfork awarded ‘Sons Of’ an 8.3 and a spot in their Best New Music category in their review written by Philip Sherburne.

The first full length collaboration from two artists who have expanded the field of rock through their work over the last three decades, both as individuals and in their time together in The Sea and Cake.

John McEntire is known for his work as a musician playing with Tortoise, Jim O’Rourke, Stereolab and others. Owner and operator of Soma Electronic Music Studios, he is also known for his pioneering work as a producer and engineer, working with Stereolab, Archer Prewitt, Yo La Tengo, Bright Eyes, The Fiery Furnaces and Chicago Underground, among many others.

‘Sons Of’ finds two master craftsmen working at the nexus of pristine production and skilful improvisation, forging compelling narrative arcs into glistening metropolises of infinite pulse. The resulting sound is one of transformative fluidity; each passing beat marking a sense of familiarity while the surrounding atmospheres are in constant flux. Ever-shifting tonalities and magnetic grooves propel the music with persistent momentum without feeling hurried buoyed by the steady pace, creating the framework that allows space for new sounds to breathe and evolve.

TRACK LISTING

1. A Ghost At Noon
2. Crossing At The Shallow
3. A Yellow Robe (Part 1)
4. A Yellow Robe (Part 2)
5. A Drink At The Banquet
6. Ascending By Night

The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopaedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencerdominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its firstever official release outside of Japan.

Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

TRACK LISTING

1. "Ground Floor···Triangle Circuit On The Sea-Forest" 
2. "Upper Floor···Moving Triangle" 
3. "Roof Garden···Revel Attack" 
4. "Hepatitis" 
5. "Hum Ghar Sajan" 
6. "Madam Consul General Of Madras" 

Portland pianist Mary Sutton second’s fulllength for Kranky delves deeper into her roots as a Cherokee Nation citizen (Saloli, pronounced like “slowly,” is the Cherokee word for ‘squirrel’).

The album is intended to evoke “a day in the life of a bear in a canyon in the Smoky Mountains,” with each track channeling a different emotion or experience in its daily explorations. As with her 2018 debut, The Deep End, the entirety of Canyon was composed and performed live on a Sequential Circuits MultiTrak synthesizer – but this time routed through a delay pedal. This refraction adds a lyrical spatial quality, as though “echoing off canyon walls.” It's music both gentle and adventurous, curiously rooting through soils and streams, in a sustained state of discovery.

In Cherokee teachings, humans and animals are considered to have no essential difference – originally, all the creatures of the earth lived together in harmony. Canyon captures shades of this Edenic notion across eight elegant pieces, alternately meandering, pensive, playful, and pure. Sutton’s playing, as always, is dexterous and dimensional, mirroring the dazzled senses of its muse.

Her father, the Cherokee painter and flute-maker Jerry Sutton, created the artwork. Its yellow lettering is from the Cherokee Syllabary and spells “Yona", meaning ‘bear.’

TRACK LISTING

1. Waterfall
2. Lily Pad
3. Snake
4. Yona
5. Silhouette
6. Full Moon
7. Nighthawk
8. Sunrise

‘OPEN’ is the second album from Lunice - acclaimed Montreal producer and half of TNGHT with Hudson Mohawke.

It has been six years since his debut, ‘CCCLX’. Since then, he has released numerous singles, remixes and contributed to game / movie soundtracks, as well as consistently touring his legendary live show, pairing upfront new hip-hop with club ready electronic beats.

The concept of the project ‘OPEN’ refers to an approach in creating art that focuses on the natural human ability and behaviour of intuition, instinct, openness, flexibility and adaptation. This project is the end result of practising all of these behavioural traits with the combination of keeping a conscious and healthy relationship with time and space.

For ‘OPEN’ he has concentrated on making a more dynamic album than its predecessor - every track translating to the live show or a DJ set. The collaborators on this album, including Cali Cartier, Zach Zoya, Yuki Dreams Again, DAGr and Grammy winning producer DRTWRK (Kanye West, Lil Wayne, Joyner Lucas, Denzel Curry, etc.) are a showcase of dynamic new rappers and young producers who all match Lunice’s energy as he takes you on a bizarre ride through the Montreal underground.

TRACK LISTING

1. YAYAYA
2. Last Time Ft Zach Zoya
3. Red Congo
4. Walk Ft Cali Cartier
5. Winnebago Ft DAGr
6. Make Face
7. Open Ft Yuki Dreams Again
8. Life Happening
9. Rube Boii Ft DRTWRK & Jay Century
10.No Commas Ft Cali Cartier
11. Cyber Samba (Bonus Track)
12. Compensate (Bonus Track)

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Jonny Benavidez.

Hailing from San Diego (via El Paso, TX), Jonny’s desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Jonny’s career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..

Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of “Uncle Sam,” to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

TRACK LISTING

1. MY ECHO, SHADOW AND ME
2. PLAYING THE FOOL
3. UNCLE SAM
4. TELL ME THAT YOU LOVE ME
5. SLOW DOWN GIRL
6. DEDICATED TO YOU
7. SOMEBODY CARES
8. DO WHAT YOU WANNA DO
9. YOUR LAST SONG
10. LET'S GET TOGETHER
11. DEAR MOTHER AND FATHER

Deep into lockdown, Frank pulled out Bernie Grundman's original 24 track masters of the "In a Minor Mode" ep, digitizing and exploring the original multi track recordings. Inspired by newly rediscovered parts recovered from the editing floor, what followed was a faithful but full-blown reimagining of 'Loveroom' Strangelove are proud to present this definitive version alongside a deep dive into Echoes LP favourite 'Down By The Rio' Frank's FM friendly take flipped on the B side with Frakas' trippy diced up vibe alongside a bumping beatdown version from New Zealand's finest Julien Dyne. Essential Balearic heat beat!

TRACK LISTING

Side A
A1- Loveroom - Frankie's Deluxe Mix
A2- Down By The Rio - Frankie's Deluxe Mix

Side B
B1- Down By The Rio - Frakas Mix
B2- Down By The Rio - Julien Dyne Mix

Let’s Eat Grandma, the duo composed of songwriters, multiinstrumentalists and vocalists Rosa Walton and Jenny Hollingworth, have composed an entirely original soundtrack for a new Netflix thriller series, ‘The Bastard Son & The Devil Himself’. The 25 track score is released in full via Transgressive.

Rosa and Jenny said the following of their experience of composing their first ever score for a series: “Working on the OST for ‘The Bastard Son & The Devil Himself’ has certainly been a very informative process and a wonderful new experience which has shaped and broadened the way we write and think about music. We’re always looking for ways to move forward musically, and we think being part of a bigger project with lots of other people all working creatively in different ways has been so valuable and inspiring.”

Colm McCarthy (‘Black Mirror: Black Museum’, ‘The Girl with all the Gifts’), an executive producer and the director of the first four episodes, added: “Let’s Eat Grandma were the first track on the mood playlist that I put together for the show. Joe Barton was a big fan too and we reached out to them while still in the early stages of casting. Even though they had never done a score before it just felt like they would do something original and authentic. Something about the score coming from such young voices feels really cool in this story about the transition from childhood to adulthood. Rosa and Jenny collaborated brilliantly, giving us an amazing score. Emotional, scary, heart-pounding, epic and personal, it is strange and evocative and a huge part of the unique identity of our show. They sculpted with organic, acoustic elements and grungy electronica to make something really magical. It has the DNA of the band running through it but also feels so intrinsic to our world.”

TRACK LISTING

1. Half Bad
2. Mouse Feet
3. Money Spiders
4. Don't Pull The Knife Out It Will
5. Only Bleed Quicker
6. Blood Nails
7. Half Bad 2
8. Nathan's Training Theme
9. Trapped In The Washing
10. Machine
11. Annalise & Nathan
12. Romance
13. Half Bad 3
14. Rhythmic Creatures
15. Rhythmic Creatures 2
16. Wanted You To Share It
17. Funeral
18. Kicking Up Dust
19. Jessica's Gift Giving
20. Mercury's Theme
21. Mouse Feet In Paris
22. Nathan & Marcus
23. Kiss & Push
24. Speech Is Silver, Silence Is
25. Golden
26. Magical Recreations Of
27. Murders In The Kitchen
28. Skin Shimmers
29. End Credits

Noema's last EP on his own, Magic Movement imprint was an absolute doozy, landing slap bang between shamanic house, cosmic and EBM flavours with a beguiling, mystic palette of sounds. He's back with some more music recorded on a recent trip top Sao Paulo and packing just as much punch as that previous volley. The title track translates a 90's Detroit house groove to the present day and adds cuica, berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.

"Minhocao" trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!

Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso qanon / saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.

TRACK LISTING

A. Sky, Horse And Catch
B1. Minhocao
B2. Sky, Horse And Catch (Khidja Remix)

The third release on The Magic Movement features the label's A&R Noema from Berlin. "Antipodes" starts off with a funky bassline, trippy bells and syncopated claps which set a psychedelic Afro vibe from the very beginning. Mystical noises increase this mood, until a hypnotising Moog hook calls for action. And at the latest when the sub bass finally drops in, the scenery transforms into an ecstatic ritual dance. On the flipside, Auntie Flo drops a dubby remix of the title track, which sees a spheric choral pad unfold over strong Afro percussion, while a rattle snake like shaker excitedly rises and falls. "Late at Night" feels like a nocturnal walk through streets in twilight. The groove, which sounds like odd clockwork, gets occasionally enhanced by more interesting percussion sounds. The melodies, played by a marimba-like instrument and filtered synth, are accompanied by a warm pad and a disco bassline, whilst a female voice moans in the back. It's another winner from the mystical Magic Movement imprint.

TRACK LISTING

Antipodes
Antipodes (Auntie Flo Remix) 
Was Late 

Synth Soundtrack is a re-work of Sick Soundtrack, the first album by Gaznevada, the legendary new wave no wave rock dance punk band of the 70s-80s.
The Sick Soundtrack multitrack no longer exists, it was lost many years ago: no multitrack no remixes. And, in fact, Synth Soundtrack is NOT a remix.
No possibility of removing or correcting sounds, synthesizers, rhythms, it was only possible to add. Basically today's Gaznevada played together with original Gaznevada. A time machine jam session. A kind of techno-musical psychoanalysis. Synth Soundtrack moves away from Sick Soundtrcak to take its own original path.
Was there ever anyone in the history of rock who ever did something like this?
Hmm... Oh... So... Maybe... No... No, definitely not. Nobody.

TRACK LISTING

A01 - Nevada Gaz
A02 - Going Underground
A03 - Japanese Girl
A04 - Shock Antistatico
A05 - Pordenone Ufo Attack
B01 - Tij-u-wan
B02 - Oil Tubes
B03 - Nightmare Telegraph
B04 - Walkin Talkin
B05 - Now I Want To Kill

Something never heard before from man of the moment Nikki Nair (or anyone else, for that matter): Whimsical glitchpop-blues with Nikki singing full vocals for the first time on record - lamenting the 9-to-5 struggle, yearning for summer &
getting fucked up on the beach.
The idiosyncratic, strangely addictive original comes with a b*nging remix from Stockholm avant-techno ledge Peder
Mannerfelt going full chaotic evil mode, warping Nikki's vocals into a menacing call to arms for the modern hedonist.
Nikki Nair's latest single arrives on Stockholm label Studio Barnhus, both tracks release digitally and on 7'' vinyl.

TRACK LISTING

A1.Cant't Wait
B.1 Can't Wait (Peder Mannerfelt Remix)

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The second installment "Reissued 2", which follows the series' inaugural EP from 2019, features again some exceptional pieces that were previously only available on CD.
Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music.
"Silk Route Part 1", which comes from their 2008 album "Travelling The Silk Route", occupies the A-side with a 12-minute journey full of jazz-infused ambient soundscapes meeting oriental melodies with sophisticated percussion patterns. A truly immersive listening experience!
On the flip, "Sleeplearnin'" was described as psycho-active electronica when it first came out on the "Sons of Kraut" album 17 years ago. Translated, we're talking about minimal house that carries their warm trademark sound, enriched by pulsating echoes, space noises, and relapsing vocoder shreds. It conveys the pair's unique energy that embraces the improvisational moment to create a hypnotic flow that's nothing but timeless.
"Reissued 2" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.

TRACK LISTING

A Silk Route Part 1
B Sleeplearnin

After 3 successful releases on Nu Groove and Refuge Rec. comes the fourth strike of the Acid Jerks.
Eighties and nineties inspired house music, powerful and stylistically confident

TRACK LISTING

A1. Acid Jerks - Utopia Vision (07.04 Min)
A2. Acid Jerks - Instant (05.54 Min)
B1. Acid Jerks - The Catalyst (06.18 Min)
B2. Acid Jerks - Narcotic Illusion (05.11 Min)

Archetype’ is an exorcism of South London’s underground spirit. It’s a sound world which draws on its ancestral echoes as equally as it captures the pulse of a city on the edge of evolution.

The twelve-track collaborative record is the product of two magnetised forces who should almost repel: producer, composer and keyboard player Joe Armon- Jones, and producer / DJ Maxwell Owin.

At the fore of the scene south of the river, they draw on different instincts, different disciplines, different strengths - and converge them to make something which is both challenging and startlingly fresh.

Guest features on the record include Lex Amor, Shabaka Hutchings, Fatima, Rocks FOE, O the Ghost, Mala, Maysia Osu and YUIS.

‘Archetype’ is caught somewhere between the club and the bedroom, both communal and intimate - something common to Joe’s world of jazz, soul and improvisation and Maxwell’s, of the sprawling sounds of hardcore continuum, from jungle to dubstep and drill.

TRACK LISTING

1. Archetype (feat. O The Ghost)
2. Ode 2 Reverb
3. 4Seasons (feat. Rocks FOE)
4. Rago’s Garage (feat. Shabaka Hutchings)
5. Grief (feat. Lex Amor)
6. Don’t Tip Me Over (feat. Fatima)
7. Lost In The Function
8. Do I Keep Going
9. Pedal Bike
10. Sisyphean (feat. O The Ghost)
11. Ikigai (feat. Mala, Marysia Osu & YUIS)
12. Adrenaline/Oxygen

Cory Hanson’s third solo LP follows 2020’s luminescent ‘Pale Horse Rider’, upping the heat to molten levels, six strings at a time. In search of further adventures, Cory draws with vampiric glee from the madness coursing through the world outside; a spiralling shitshow that’s reawakened a compulsion in him - an old ambition, even! - to crush brutality and elegance together into a fresh set of rocks to hail down upon us.

‘Western Cum’ is a high-stepping, hard-dancing, first love / heartbreak, tonight’s-the-night, future nostalgia kind of good time - the sound of guitars through the speakers of luxury cars.

Harmony leads are just the tip of the iceberg - the guitars like to melt everything in their path. The eight songs of ‘Western Cum’ are driven by the stalwart bass of brother Casey Hanson and the drums of Evan Backer, with a few passing acoustics from Cory and the intermittent spiritmoans of Tyler Nuffer’s steel guitar.

The quartet sound - two guitars, bass and drums - acts as beat-making principle / phrasing device, as well as template for Cory’s layers of six-string and vocal textures. From the rooftop of their musical safe house - the band in their makeshift hut and Cory ensconced in an outhouse - they let loose with a blast both face-melting and mindblowing.

With ‘Western Cum’, this debauched and shameless world is redeemed in the same breath as it is repudiated. A massing of voices and guitars form an almost post-gospel harmony, bright and burgeoning, engorging the thermostat, prising the pressure from your chest before the final wink-out. Maybe it’s a mirage, but those things are just another part of reality, aren’t they?

TRACK LISTING

1. Wings
2. Housefly
3. Persuasion Architecture
4. Horsebait Sabotage
5. Ghost Ship
6. Twins
7. Driving Through Heaven
8. Motion Sickness

No band smoulders quite like The Slow Show.

The Manchester four-piece have built a reputation for soaring crescendos and deep emotional canyons, making music for romantic souls and wounded hearts.

Subtle Love not only distils The Slow Show’s sumptuous indie pop formula, but it casts the group’s net into exciting fresh waters, incorporating winsome folk (Royal Blue) and anthemic, widescreen rock (One Shot) too. Across ten songs, the listener is taken on an amble through the band’s past and into a tantalising future. It is a highly melodic and moving affair, made by kindred spirits and lifelong friends.

The band decamped to Cave Hill in Belfast, where Joel Byrne-McCullough grew up. “I hadn’t been there for 15 years,” marvels the guitarist. While there, the band stuck side by side and bonded afresh. “It was a great time of togetherness,” reveals Rob. “We lived in the same house, we ate together, we went to the local pub, we talked about life.”

Across a five-day period, all ten songs that make up the album had taken shape and been committed to tape by their producer, Joel’s brother, Dan Byrne-McCullough. Dan’s presence enabled an intimacy and familiarity that made everyone feel comfortable, and this brought out the best in the band.

One Shot is the first taster from the album and is arguably the band’s most anthemic and sing-a-long song of their career to date.

Joel reminisces “I remember when we had the music of One Shot. It was the evening, and we were sat in the sitting room [in Belfast’, the fire was on, and we were having our dinner watching the news: me, Rob, and Fred [Kindt – band keyboardist]. After dinner, Rob was singing a few things over those chords.

As soon as he sung, ‘We’ve got one shot’, I said, 'That's it'.”

TRACK LISTING

Roulette
Tides
Learning To Dance
Subtle Love
Royal Blue
One Shot
Lament
Builder Boy
Trainride
Pale

*BIG FANFARE!!*
Mr. Fingers' highly anticipated second part of the "Around the Sun" series! The esteemed Chicago produer continues on the path from last years "Around the Sun part 1". Encompassing all his influences from jazz, r&b to techno and ambient; these lush tracks eminate with a warmth and feel that no one else expresses quite like him. No need to further elaborate... Larry Heard at his finest.

Pre-orders ESSENTIAL! 

TRACK LISTING

Were Drowning
Tekjazz
Love To You
Country Rhodes
Touch Of Love
Rustling Leaves
The Icy Air Of Night
Invisible
Forcefield
Supa Kool

The atmospheric dreamgaze post-metal band Cloudy Skies, established 2019 in Paris, are duo Lionel and Nicolas, who were both active in bands such as Ambryo (metal / hardcore, 2000-2009) and Eyes Front North (blackened post-metal, 2009- 2019). The main idea for this new project was to change direction by crafting an odd and beautiful landscape nourished by not only ‘metal’ but also by the many other music genres Lionel and Nicolas love, such as indie rock, ambient, post-rock and anything dark and alternative.

As the songs are the reflection of the composers’ soul, it was important for them to impregnate their emotions into their music. It could sound like a cliché but sensitivity is part of Cloudy Skies. Lionel and Nicolas composed and recorded everything except for the drums. For that task they hired the talented Conny Pettersson (Anata, Eternal Lies, Trojan Dogs a.o.) to perform subtle, ethereal, groovy and brutal drum parts.

The band focused on sound quality and took particular care in fine-tuning the mixing. As for the mastering, it has been processed by the great Magnus Lindberg, responsible for many great albums (Cult Of Luna, Ghost, Switchblade, Pg.Lost). This has resulted in a clear, spacious and massive audio experience.

TRACK LISTING

1. Another Dream
2. Nebulous Reflections
3. Currents
4. Echoes Of The Ocean
5. Gleams & Ghosts
6. Stars Still Shine
7. Haze On The Way

‘Black Duck’ captures a band already deeply in tune with one another. The threepiece supergroup consists of Douglas McCombs, Charles Rumback and Bill MacKay. Each has a distinct musical voice that is instantly recognizable yet blends seamlessly with one another - their time performing together, playing to the moment and reading each other and the spaces they’re in formed a fluency between the trio which allows them to follow each other down winding paths and short tangents alike.

Black Duck’s debut is a testament to that fluency, an expedition led by three veterans into alluring worlds bathed in myriad splendours. ‘Black Duck’ is a gallery of sonic tapestries, unbound by any genre constraints. Black Duck redefine what two guitarists and a drummer can do; pieces move from breezy shuffles to stormy blues rumbles to gorgeous textural drones.

Playing entirely improvised live sets for years helped develop the trio’s acute senses for one another, knowing precisely how to listen to the others and bolster whatever direction they move in. In the short time the trio have played together, they have performed at Big Ears Festival and alongside acts like Yo La Tengo. 

TRACK LISTING

1. Of The Lit Backyards
2. Foothill Daze
3. Delivery
4. Second Guess
5. The Trees Are Dancing
6. Thunder Fade That Earth
7. Smells
8. Lemon Treasure
9. Light’s New Measure

On The Inside, the debut album from Gotts Street Park, is more than an album – it’s an invitation. “We want listeners to feel like they’re stepping into a room with us, peering into our process,” say the acclaimed Leeds trio, describing a genre-hopping odyssey that acts as a diary of everything their relationship encompasses, both as collaborators and close friends.

The group was formed in Leeds by Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar). What began as an outlet for their shared love for sixties Motown, soon became a jewel in the Yorkshire scene’s creative crown, with millions of Spotify streams to their name and some of hip-hop and pop’s most exciting emerging voices requesting collaborations: Celeste, Kali Uchis, Cosima and Rejjje Snow are just a few of the acts the band have individually written/produced for.

TRACK LISTING

Side A
1. Summer Breeze (feat. Rosie Lowe)
2. Tell Me Why (feat. Olive Jones)
3. Shiloh
4. Got To Be Good (feat. Pip Millett)
5. Fuego
6. Mountains (feat. ENNY)
Side B
1. Strawberry Dream
2. Fool For Love (feat. Pip Millett)
3. Purple
4.Are You Still A Friend? (feat. Flikka)
5. Portofino (feat. Parthenope)
6. Walk Away

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

Album Featuring: Freddie Gibbs, Pharrell Williams, Big Sean, Amaarae & Snoop Dogg.

TRACK LISTING

1. Who He Iz
2. Letstalkaboutit (feat. Freddie Gibbs)
3. 4EVA (feat. Pharrell Williams)
4. Westside
5. Master P (feat. Big Sean)
6. Rebuke
7. Sossaup (feat. Amaarae)
8. STFU3
9. Ugh Ugh
10. Eye (feat. Snoop Dogg)
11. K&A

"Insomnia" is the third solo album from Italian jazz beat maestro Koralle for Melting Pot Music. Without exaggeration, it can be described as the most mature and advanced piece of work by the beatmaker and producer from Bologna. On "Insomnia" Koralle invites some of his favourite artists and musical peers to collaborate and exchange sounds, ideas, beats, melodies and lyrics. The guest list includes fellow producers & musicians FloFilz, Pachakuti, Figub Brazlevic, Kuranes, Phoniks and Brous One as well as rappers and singers Kid Abstrakt, KeepVibeNear, Ryshon Jones.

TRACK LISTING

1. New Day
2. Paolosanto
3. Don't Be Afraid
4. Mission (feat. Kid Abstrakt)
5. Train 2 Moabit (feat. Figub Brazlevic)
6. Insomnia
7. Pills (feat. Phoniks)
8. If I Had A Diary (feat. KeepVibesNear)
9. Blunotte (feat. FloFilz)
10. Luna Piena
11. Mandala (feat. Packakuti)
12. Getting By (feat. Ryshon Jones)
13. Meditation
14. Healing
15. U Do
16. Things Are Going To Be Alright

One of the finest tracks from Anthony Brightly's work with a young Wendy Walker. This track has always been a personal favourite, so whilst working with Anthony on another project we thought why not do a nice little 45 of this classic. Flipped with Legal Assault's, 'Nice & Slow' also from the Sir George label, this is another long time spin, it's a no-brainer all Killer 45. Strictly AA

TRACK LISTING

1. We've Got One
2. Nice & Slow (feat. Dan-Elle)

After a huge year of travelling in 2022, playing DJ sets in more than 30 cities across 10 countries, Captain Planet dove back into the studio to create his 5th and most ambitious album to date- Sounds Like Home. Taking a turn toward the more organic, retro sounds of artists who originally inspired him as a young musician, Charlie Wilder (aka Captain Planet) flexed his composer and bandleader muscles- incorporating horn sections, strings and acoustic drums more than the big club focussed electronic sounds he has often come to be known for. "The basic concept was to make a record like the ones I constantly pull off my shelves at home and play on the weekends. The records that turn into living room dance parties with my family, the soundtracks while I'm cooking, the music that fills the backyard for lazy hang outs." An avid vinyl record collector and musicologist since his teens, the Captain has a near encyclopedic knowledge of music from around the world, particularly artists from the 60's and 70's, which is the era that inspired much of the sonic texture on this new album.

In classic Captain Planet style, a kaleidoscopic array of genres from around the world find their way into the mix- Brazilian disco, Latin funk, Jamaican dub, Middle Eastern psychedelia, and American soul music. While this diversity may sound more like a mixtape, the Captain's trademark uplifting vibe and impeccable knack for building a great groove, provide the special ingredients that pull it all together and makes the sauce work. The Fader wrote "the Captain is a walking 'recommended vinyl' section from the best record store you've ever been to", because all his deep love and appreciation for classic music comes right through him in his original songs. Throughout this album you'll hear echoes of timeless artists like Cymande, Gilberto Gil, Ray Barretto, Curtis Mayfield, Mulatu Astatke, and Gabor Szabo, all funneled through the Captain's modern musical sensibility, shaped by nearly 2 decades of being a professional world-traveling DJ.

The past year also brought some major challenges for Charlie Wilder, most central of which was losing a close friend and collaborator, the fellow LA-based DJ/producer Sumohair (1⁄2 of the band Reyna Tropical). The album starts off with a brief tropical tribute to his friend, followed by the strong message "Music Is Medicine" sung by another regular collaborator, the Zimbabwean-American (Grammy winning) singer Shungudzo. With the true value of friendship front and center on his mind, Captain Planet made a strong conscious effort to include many of his oldest friends and musical partners throughout the album, including Grammy winning pianist Sam Barsh, Chico Mann, Zuzuka Poderosa (who bartended at one of the Captain's earliest DJ residencies in Brooklyn), David Walters (whose new album "Soul Tropical" was co-written & co-produced by the Captain), Todd Simon, Leo Mintek (who has played guitar with Wilder since their teens), and Wilder's youngest brother Taj Bethel who co-wrote 2 of the songs on the album. The warm light of friendship and family shines throughout the album, and while the influences reach far across the globe, the music clearly shows that Captain Planet has found his musical home.

TRACK LISTING

1. For Sumo (feat. Henry D'Arthenay)
2. Music Is Medicine
3. Destello
4. Hammock Dreams
5. Pambelé
6. Moqueca
7. Kité Soufè
8. Break Through To My Heart
9. Mirage (feat. Taj Bethel)
10. Elevando
11. Loose Wires (feat. El Din)
12. Shake
13. Mind Reader
14. 4th Of July
15. No Better Place

Married around a shared love of machine-led funk, outsider soul, 70s-80s nautica and 21st century basement disco, Bright & Findlay (formed of multi-hyphenate James Alexander Bright and Groove Armada's Tom Findlay) are set to release their debut album 'Everything Is Slow' on 9th June via Athens Of The North.

After hearing James' 2019 single 'Tigers Roar' on the radio, Tom reached out to see if they could work together on some new music for Groove Armada's last studio album 'Edge Of The Horizon'. While three tracks from these sessions made the album, the two concurrently struck up a friendship in creating a musical language of their own, leading them to form the beginnings of a new partnership tagged Bright & Findlay.

The first Bright & Findlay release, 2021's 'Slow Dance' EP, was Gilles Peterson included it in his tracks of the year, they recorded a Block Party mix for Huey Morgan and it also received support from Don Letts, Tom Ravenscroft, Bill Brewster, Dam Funk (Apple Music), Bluey (STR4RA/Incognito), KCRW, Triple J and beyond.

With a blueprint laid out, the pair began work on more songs, initially exchanging sketches back and forth between their respective studios before adding and subtracting, layering and finessing an album's worth of music. The pair share production and instrumental work across the record, with James taking vocals and guitars and Tom's ear for arrangement proving second to none.

Opening with the low end arpeggio of 'Hello In The Dark (Standing)', the instant earworm groove of 'Fireflies', and the underground soul hit 'Slow Dance'; the album has a stunning move and feel to it, packed front to back with sunshine boogie, cosmic disco and lashings of Balearic funk.

'When I Look Into The World' is the beautifully melancholic downbeat highlight of the album, featuring a touching string arrangement from James that counterbalances Tom's strong bassline. It comes across like a rediscovered private press record, hidden in a dark basement since the early 80s. Tom says "James sent this to me as a demo with just him and his guitar. We've built it into something that tugs at the heartstrings". James adds "The world has been and always will be a beautifully chaotic and equally troubling place. For me this song wraps up the light and shade of life on Earth as a human".

Club needs are also accounted for with the Dâm-Funk inspired 'Space & Time' and the Metro Area vibe of 'NY Disco (Smile)'. Tom says "As the name suggests, 'NY Disco' is inspired by the Brooklyn disco scene, Morgan Geist, Environ, all that good stuff. All my vintage synths make a guest appearance on this one".

All the artwork for the album and singles is by James (who works under the Fuzzy & Magic tag) and ties back into the feel of their sound. James states "I was inspired by a visit to Charmouth last summer with my family. The rocks and ancient stones we found on the beach worked so well as micro sculptures whilst I was listening back to the mixes of the record. There was a real light and shade texture from the stones that I felt complimented the music and songs".

TRACK LISTING

1. Hello In The Dark (Standing)
2. Fireflies
3. Slow Dance
4. When I Look Into The World
5. Flowers
6. Everything Is Slow
7. It's Only Rain
8. Leave It All Behind
9. Space & Time
10. NY Disco (Smile)
11. Doom

The fourth full length album from Nevada’s prolific Nick Rattigan - Me Oh My Mirror - an outstanding, sprawling double LP - is the assured result of an artist truly in his element. Released only 2 years after his debut this album sees Rattigan fully embrace the production and songwriting experiments of prior releases, laying them down with unwavering confidence to stunning effect. From the undeniable indie bop of Unbearable Lightness of Being, to the instrumental hypnotism of Life is Beautiful this album is an essential for all Current Joys fans and a perfect place to start for new comers. Current Joys has over 4.5 Million Spotify Monthly Listeners.

TRACK LISTING

SIDE A.
1. Home (Pt. 1 & 2)
2. Desire
3. Unbearable Lightness Of Being
4. Life Is Beautiful
SIDE B.
5. Here’s To The Afterlife
6. Home (Pt. 3)
7. The Way You Make Me Feel
8. These Times Will Never Change
SIDE C.
9. My Motorcycle
10. Don’t Be Consumed
SIDE D.
11. In And Out Of Love

This third full length album from Nevada native Nick Rattigan, released only a year after his debut, speaks to the young artist’s prolificacy - housing a combination of 14 tracks sometimes unduly considered b-sides (such as the stand out and a - side worthy Let Me Be), rarities (such as the stripped back demo of ‘My Blueberry Life ’ lead track from the previous LP “2013”) and live demos of both released and upcoming gems (such as the 2015 follow up LP Me Oh My Mirror’s anthemic ‘ My Motorcycle’). An album for the real Current Joys heads this fuzzy, treasure laden and often distorted, LP speaks to the process and inner workings of the artist behind it.

TRACK LISTING

SIDE A:
1. Nervous
2. Punch Drunk
3. Ghosts
4. My Blueberry Life (Demo)
5. Why Don’t You Cry
6. Close The Door
7. Blue
8. Let Me Be.
SIDE B.
9. My Motorcycle
10. Televisions
11. My Spotless Mind
12. Too Hard
13. Why Don’t You Cry (Campfire)
14. Dance Forever Die Together

Current Joys’ bold coming of age debut LP, originally released under the moniker TELE/VISIONS in 2013, remains a fan favorite. Holding strong a decade later, it’s lead single New Flesh has over 250 million streams worldwide and continues to be one of the most shared songs online. The perfect blend of sentimental and uplifting, touching on themes of longing, exclusion and hope this album embodies the signature sounds of Current Joys - through lofi bedroom production and his layered, skillfully looped melodies Rattigan dives headfirst into the raw emotion behind each song leaving the listener feeling simultaneously elated and heartbroken. 

TRACK LISTING

SIDE A.
1. My Blood
2. New York City
3. Televisions
4. Blade Running
5. New Flesh
SIDE B.
6. Blondie
7. I’m Terrified
8. Symphonia IX
9. Strange Life
10. You Broke My Heart 

We Are Busy Bodies compiles tracks from Infest The Rats Nest live from Red Rocks 2022 performances - Part of the Bootlegger Series on glow in the dark green vinyl.

TRACK LISTING

Planet B
Mars For The Rich
Organ Farmer
Venusian 1
Perihilion 
Venusian 2
Self-Immolate
Hell

We Are Busy Bodies compiles songs from Murder Of The Universe live from Red Rocks 2022 performances - Part of the Bootlegger Series - On translucent white sparkle vinyl & comes with a 100-piece puzzle with artwork by Jason Galea.

TRACK LISTING

New World
Altered Beast I
Alter Me I
Altered Beast II
Alter Me III 
Altered Beast III
Altered Beast IV
The Lord Of Lightning
The Balrog
Digital
Black
Han- Tyumi
The Confused Cyborg
Soy Protein Munt Machine
Vomit
Coffin
Murder Of The Universe

"Several times, as I listened to M Ward's Supernatural Thing, I asked myself what year it was, was it 1952, and was I listening to a track from the Harry Smith Anthology? Was it 1972, and was I eavesdropping on the recording session for After the Gold Rush? No, it's 2023, and M Ward is one of the special contemporary artists who invite such questions. Ward has clearly mastered the whole vocabulary of American popular music and made serious decisions about how to employ it for his own ends. What Ward shares with Harry Smith's artists and Neil Young is a context of musical and human values: authenticity and intimacy. Supernatural Thing's original songs sound freshly pulled from the ground, with a little earth sticking to them. Ward's lyric delivery has that slight rawness the ear loves, and his voice has quiet dignity and great tenderness. Supernatural Thing is an open-hearted, inviting album.

The album's guest stars -- First Aid Kit, Shovels & Rope, Scott McMicken, Neko Case, Jim James, others -- enliven the album with surprises. On "Too Young to Die," the women's voices in First Aid Kit spread a light frosting over the melody, and their Beach Boyslike chorus on "Engine 5" makes the song sound like an instant hit. Eight of the album's ten songs are Ward originals. There's an unusual Bowie choice, "I Can't Give Everything Away" from Blackstar, and a live rendition of Daniel Johnston's 'Story of an Artist.'" -By James Cushing.

Both as a solo artist and as one-half of She & Him, M. Ward became one of the defining voices of the American indie landscape in the 2000s, earning fans and critical acclaim for his distinctive brand of breezy West Coast Americana which pulled from folk, country, blues, pop, and experimental indie rock elements. Ward established himself with warm, analog- minded releases like 2003's Transfiguration of Vincent and 2006's Post-War before joining forces with singer/ actress Zooey Deschanel to form the highly successful indie pop duo She & Him in 2008. Over the following decade, Ward split his time between projects, releasing a 2009 album with indie supergroup Monsters of Folk, several highprofile albums with Deschanel including She & Him's Columbia- issued 2014 set Classics, and critically acclaimed solo releases like 2009's Hold Time, 2012's A Wasteland Companion, and 2018's What a Wonderful Industry. Ward kicked off the next decade with a deeply atmospheric set called Migration Stories and a Billie Holiday covers album Think of Spring most recently.

TRACK LISTING

Lifeline
Too Young To Die Feat. First Aid Kit
Supernatural Thing
New Kerrang Feat. Scott Mcmicken
Dedication Hour Feat.
Neko Case And Gabriel Kahane
I Can't Give Everything Away (Feat. Jim James And Kelly Pratt)
Engine 5 (Feat. First Aid Kit)
Mr. Dixon (Feat. Shovels & Rope)
For Good
Story Of An Artist

The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7" single.

It features 'L'addio', a breakbeat driven, sultry ballad, and 'Hayat', a hazy, psychedelic scorcher that delves into the band's Turkish and Azerbaijan influences.

'L'addio' saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump.The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone.The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flatopposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated "Being both neighbours and strangers, and with the boredom of a post- tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end."

Having spent much of 2022 touring and writing, 'Hayat' was the first original composition the band recorded since their October 2021 album, 'Melodi'. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ- driven grooves, and jazz- pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4" tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

'Hayat' is sung in Turkish and the title translates as 'Life' in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask"Where are you? Where is the universe?".Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

Royal Blood today ignite an epic summer ahead as they announce the September 8th release of their fourth album ‘Back To The Water Below’ and share its lead single ‘Mountains At Midnight’.

From the very beginning, Royal Blood’s story has been one of two life-long friends whose shared passion and dedication for writing and performing has led them on a remarkable adventure together – a story that has yet to be repeated, and is a feat as rare as it is remarkable. Long before Royal Blood were even formed, they spent years together in various bands playing to half empty bars around Brighton - and only then did they suddenly become a decade-in-the-making overnight success story. One day they were plotting how to recoup the meagre £300 they had spent on their first recording, but within a year they were at the top of UK album charts, storming Glastonbury and winning the BRIT Award for Best British Group.

TRACK LISTING

1. Mountains At Midnight
2. Shiner In The Dark
3. Pull Me Through
4. The Firing Line
5. Tell Me When It’s Too Late
6. Triggers
7. How Many More Times
8. High Waters
9. There Goes My Cool
10. Waves

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

TRACK LISTING

1. Musica Orbis - Cataracts
2. Charles Lamont - History
3. Jimmy McGary Quartet - Algunas
4. Lucky Brown & The S.G.'s - Bless Your Soul
5. A La Ala - A Night In Tunesia
6. Frey-Tiepold-Thierfelder-Lang - Colibry
7. New Day - Savior's Waltz
8. Frederic Rabold Crew - Januschka

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

TRACK LISTING

1. Wolfgang Lauth Combo - Ich Rede Wenn Ich Schweigen Sollte
2. Beaver College Modern Jazz Orchestra - No Outlet
3. Federico Cervantes - Little Boogum
4 Ron Wilson Trio - Zimbabwe
5. Cleveland Jazz All Stars - Night Eagle
6. Rex Davis - Downey Sunset
7. Dahle Scott - One More For The Road
8. Jazz Yatra Sextett - Shanti

THIS EVENT HAS NOW SOLD OUT!!!

Album Launch - Live Performance & Signing Session - Night & Day Cafe, Sunday 2nd July 2023

To celebrate the release of his debut solo album, we are delighted to welcome Grian Chatten to Night & Day, to play an intimate acoustic performance followed by a signing session.

Doors 5:30pm
Acoustic performance 6pm - 6:30pm
Signing 6:30pm - 7:30pm

Tickets for this event are available exclusively from Piccadilly Records as LP/CD Ticket bundles or standalone tickets.

** Please note, physical tickets will not be issued for this event, all names will be on the door. Please bring your order confirmation, either printed or on your phone, to gain entry.**

NB: NIGHT & DAY CAFE IS AN 18+ ONLY VENUE. ID WILL BE REQUIRED.

About The Album:
Chaos For The Fly is the debut solo album from Grian Chatten, vocalist of Dublin’s critically-acclaimed band Fontaines D.C.

Rare moments of respite from a relentless touring schedule afforded Chatten the opportunity to start work on something for himself, occupying a completely different headspace from his hugely successful work within Fontaines D.C. Co-produced by the band’s longstanding producer Dan Carey, the album is arguably the most poetic we’ve heard from Chatten. Each song here has a sweep of colour and textures that breathe life into his lucid tales. Over its nine tracks, Chaos For The Fly is a record that takes in all of life’s rich emotions, transporting the listener to a place you not only want to visit, but will find yourself returning to again and again.

It's been a tremendous run for Fontaines D.C., debuting at number one in both the UK and Ireland with their third album, the critically acclaimed and Ivor Novello nominated Skinty Fia, and taking home the BRIT award for International Group of the Year. It followed 2020’s A Hero’s Death, which was nominated for Best Rock Album at the 2021 Grammys, and their debut, 2019’s Dogrel, which was nominated for both the Mercury Music Prize and Ireland’s Choice Music Prize.

TRACK LISTING

1. The Score
2. Last Time Every Time Forever
3. Fairlies
4. Bob's Casino
5. All Of The People
6. East Coast Bed
7. Salt Throwers Off A Truck
8. I Am So Far
9. Season For Pain

Back in 2011 when I was tentatively looking for a second release for my fledging record label Clay Pipe Music, I stumbled upon a mysterious MySpace page by a group called ‘Tyneham House’, the page was decorated with artwork by Rena Gardiner (who was unknown to me at that time) and the music was an otherworldly mix of field recordings, Mellotron and acoustic guitar. It turned out that Tyneham was promised to Glen Johnson’s Second Language label, so I offered to do the artwork, and in January 2012 the two labels co-released it on tape and CD in a cardboard box with a handmade booklet of my illustrations.

In 2016 Clay Pipe reissued it on 10” vinyl, in an edition of just 300, which has since become sort after. The new 2023 pressing is on blue and transparent marbled vinyl, with a reverse board cover and inner sleeve, and the booklet of illustrations has been given a complete redesign. Frances Castle 2023

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack.

The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to WWII. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage.

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall.

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

This tour-de-force of turntablism, proto-hip-hop, polyrhythms, and b-boy electro, sprung from the disruptive & fertile mind of punk architect Malcolm McLaren, finally gets the much needed reissue treatment that it so rightly deserves. This 40th anniversary edition of Duck Rock is packed to the gills with remastered audio, reconstructed artwork, and a whole additional disc of remixes and unreleased tracks.

McLaren, a sonic antiquarian and impresario, drew in conspirators from around the globe, adding sampling, scratching, skits, panpipes, merengue, and township jive to an already overflowing creative cup. Looking back from four decades on, there is no doubt whatsoever that Duck Rock’s significance has been felt far and wide with artists as diverse as Herbie Hancock, Neneh Cherry, Paul Simon, and Vampire Weekend taking leads from its trailblazing musical collage.

“Enjoy it all! It sounds better than it did on that June day 1983 when it was first released... This record is a masterpiece of pop culture. A true milestone in pop history.” - Malcolm McLaren

Originally intended for its 25th trip round the sun, this 40th anniversary edition of Duck Rock lands courtesy of The state51 Conspiracy. 

This is the version of Duck Rock that Malcolm McLaren intended to release on the occasion of its 25th anniversary. He personally remastered the tracks and compiled an additional record with 6 tracks which were previously unreleased on vinyl. Unfortunately, he was unable to release it during his lifetime, but in collaboration with Young Kim and the Malcolm McLaren Estate, and licensed by Universal Records, the state51 Conspiracy has managed to reissue it in all its glory in time for the 40th anniversary.

TRACK LISTING

LP1

Obatala
Buffalo Gals
Double Dutch
El San Juanera
Merengue
Punk It Up
Legba
Jive My Baby
Song For Chango
Soweto
World's Famous
Duck For The Oyster

LP2

Collaguas
Roly Poly
Hey DJ (World Famous Supreme Team)
Zulus On A Timebomb
Do You Like Scratchin
Franz Buffalo

Sumos debut album "Surfacing" is the follow up to their home-recorded EP 'Weird Summer' in April 2020. Sumos are a scuzz-pop band from Manchester, UK. They began as a bedroom recording project between Joel Sloan (Guitar, Lead Vocals) and Kyle Tarbuck (Lead Guitar, Backing Vocals) after a hiatus from playing together in a previous band. They then became a four-piece, adding Kyle's sister Siobhán Tarbuck on Bass and Andy Kilroy on Drums.

The album contains nine catchy songs with jangly guitars and sweet summer harmonies that tend to stick in your mind.