Wildfire tells the story of the first decade of The Prodigy from the perspective of original member Leeroy Thornhill, fully illustrated with entirely unseen photography from the earliest raves, to Japan and the United States in the late '90s, by which point the band were one of the biggest on the planet. Rave pioneers whose sound also encompassed hip hop, punk and rock, The Prodigy arguably had as much influence on contemporary pop culture as the Sex Pistols and these extraordinary images from Leeroy's personal archives capture the wild energy, ecstasy and abandon from the moment they dropped their first hit 'Charly' through the three albums which became the ubiquitous soundtrack to the decade: Experience, Music for the Jilted Generation and Fat of the Land. Beautifully designed in five colours with archival ephemera, and contextualised by Leeroy himself with candid and often hilarious stories describing the band's wild adventures and eccentric encounters as their fame and popularity spread 'like wildfire', this is the ultimate visual journey into the world of the original 'electronic punks'.

Cormorant Tree Oh often gets labelled as folk horror and whilst there are still spooky elements, this album veers into new territory. With heavy use of drones and new instrumentation. Music tends to come out of CTO weirdly regardless of her intentions, so her innate oddness still shines through.. and this album embodies that oddness and beauty.

First single, 'Terror Of The Countryside', opens with a frivolous sounding catchy riff, until the dark drones of Terror drop in on the listener like a roar from a John Carpenter movie. The song moves with a dark, ominous groove that has become CTO’s trademark. Something about this new recording shows a maturity and confidence that has always been present in her previous work… but owns the tape it is pressed to in a new way. Terror is the opening track from Moonish, and like all great set ups, it embodies the tracks to follow.

TRACK LISTING

1. Terror Of The Countryside
2. The Wrong Kind
3. My Tiniest Bones
4. Throb
5. Tied And Grinded
6. To Be Flowers
7. Sky Is Dead
8. Rorschach
9. Reedy

A live companion piece to the recent 'Good Grief' album (Bernard's first solo album for over two decades). After the completion of 'Good Grief’ Bernard was looking to road test a show in which he could perform anything from his catalogue in a simple format; 2 guitars and a microphone which allowed the freedom to improvise through each song and each set. A favourite haunt, Camden’s Green Note was chosen to host a week of intimate shows and served as the perfect setting to introduce the new songs alongside long-time fan favourites. All of the shows were recorded and these are the songs from ‘Good Grief’ as they appeared in a nascent fashion in front of 60-odd people hearing the songs for the first time.

TRACK LISTING

A1. 'Preaching To The Choir'
A2. 'Deep Emotions'
A3. 'Clean'
B1. 'Camber Sands'
B2. 'Living The Dream'
B3. 'Pretty D'

Eddie Chacon’s 2023 album, 'Sundown', established him as a “low-key R&B legend”, 30 years after his rocket-to-the-stars success as half of the duo Charles and Eddie. Now, Chacon is back with 'Lay Low', an album of hazy, seductive songs produced by Nick Hakim. Eddie Chacon’s soulful music has been praised by The Guardian, Uncut, MOJO, Record Collector, Aquarium Drunkard and many more.

TRACK LISTING

1.Good Sun
2. Let You Go
3. Empire Ft. John Carroll Kirby
4. Lay Low
5. Birds Ft. Nick Hakim
6. Let The Devil In
7. End Of The World
8. If I Ever Let You Go

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.

The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.

"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.

To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
'Starring Rosi' stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.

It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.

While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel.

TRACK LISTING

1. Laughter Loving
2. Day-Dream
3. Schizo
4. Cosmic Tango
5. Interplay Of Forces
6. The Fairy Dance
7. Bring Me Up

Mar De Novo is a mainstay of the Vinyl Only label which is now almost up to release number 20. As always these are magnificent beats that blend great invention with a healthy respect for disco days gone by and they are all made in what must be a studio jam-packed with analogue gear from all across the ages. 'Instant Humidity' has plenty of characterful synth details that are freaky and playful, 'Call Me' pairs stepping disco beats with super sweet vocals and 'Paraggi' is a blissed-out seaside gem while 'Progression' heads back to the club with strobe-lit disco arps, 'Get A Way' pairs plunging basslines with cosmic keys and another great vocal and 'Quiet Down' rounds out with another horizontal downbeat disco gem.

STAFF COMMENTS

Mine says: Matt called Mar De Novo's Apericena EP from earlier in the year "proper Piccadilly fare" and you can certainly say the same about this new one. Hard to pick a favourite track!

TRACK LISTING

Instant Humidity
Call Me
Paraggi
Progression
Get A Way
Quiet Down

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.

Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne’s The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens’ incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. 'MF TEEN: Your Concurrence In The Above Is Assumed' recognises the legacy of rap’s Illest Villain, traversing MF DOOM’s discography and personas, flipping selections from Madvillain, 'MM.. FOOD', 'Viktor Vaughan', 'Danger Doom' and more, taking care to ensure recognisable tunes such as 'Doomsday' and 'Curls' are represented alongside more obscure cuts such as 'The Gas Face', the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7”s of The Pro-Teens’ renditions of 'Peachfuzz b/w One Beer' and 'Doomsday b/w Curls', releases that built a feverous anticipation for the complete album. 'MF TEEN: Your Concurrence In The Above Is Assumed' comes after 2021’s Snooch Dodd & The Pro-Teens - 'I Flip My Life Every Time I Fly', co-released with UK tastemaker label Mr Bongo.

TRACK LISTING

1. The Gas Face
2. The Time We Faced DOOM
3. Peachfuzz
4. Curls
5. Doomsday
6. Sofa King
7. Kon Queso
8. One Beer
9. Can I Watch?
10. A Dead Mouse
11. Microwave Mayo
12. Supervillain Theme
13. Benzie Box
14. Charsnuka

Local Sugar Diggers is a series from label head Scruscru that draws together a fine selection of re-edits and reworks of a mix of hard-to-find old records, all done by his mates. This time out it is LTF who steps up his 'At The Pier' is an effortlessly funky jam with some laid-back horn work adding extra spice next to the jumbled percussion. Flip it over and you find 'Con Ritmo Y Melodia' which is a slower, steamier, more Latin-flavoured sound with shuffling percussive grooves and big old breaks to get the floor going.

TRACK LISTING

At The Pier
Con Ritmo Y Melodia

Hit Parade was a one-man anarchist band, the brainchild of Dave Hyndman (aka P. Checkoff and Rik O’che) a member of the Anarchist Collective in Belfast. Being a left-wing socialist, Checkoff’s songs were highly political by nature and concentrated on life in Northern Ireland. Subject matter ranged from the evils of television to H Blocks; the RUC to housing problems, and of course unemployment.

Penny continues; “Hit Parade was one troubled man’s attempt to deal with and describe the ‘troubles’ that surrounded him in Belfast where he lived with family, friends and comrades. In the seventies and eighties, divided Ireland was never far from the distortions of the UK’s daily headlines, all of which toeing the predictable Protestant party line. Meanwhile, Hit Parade had to suffer the daily indignities of military oppression and religious bigotry. Shouting out from a wilderness of human stupidity, Hit Parade looked to put the record straight from the trenches; one man’s voice touching the multitude. Listen and learn. It’s still going on and on and on…”

Penny finally notes that “Our (Crass’) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference – rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”

In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, “There is no authority but yourself”, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it – “get out of your own way, we’re all in this together”. 

TRACK LISTING

1. Product Of The Troubles
2. Media Song

Monsieur Van Pratt returns with a second volume of the Illegal Disco series and these sure are some naughty beats that are reimagined classics for contemporary clubs. The flame-hot 'Disco Fever' gets things going with a sleazy big sax line bringing the vibes to a strident disco beat with funky riffs and some great vocal work. 'Fanning The Flame' is another big one with funky drums and big open hi-hats all topped with another impassioned vocal and raw horns. Last of all is 'Rock It' which has a slightly more stripped-back groove but still motors onwards with organic percussion and live drums.

TRACK LISTING

Disco Fever
Fanning The Flame
Rock It

In celebration of its 30th anniversary, Plastikman, aka Richie Hawtin, has remastered his groundbreaking second album, 'Musik', from the original tapes for a new limited bio-vinyl edition.

The record was first released in November 1994 through NovaMute and Plus 8, following the debut Plastikman album, 'Sheet One' (1993). A masterclass in minimal techno, Musik quickly propelled Hawtin to new levels of success. The release followed Plastikman’s first-ever live performance in a black vinyl-encased room at a semi-derelict Packard Plant in Detroit, where Hawtin was central to the burgeoning underground scene.

Before the full album hit the shelves, the track ‘Plastique' (which was later described by Q as “...the flipside to Hawtin’s early singles, all ticking percussion, feline acid tweaks, and cushioned sub-bass”) set the stage for a more dance floor-friendly album, albeit one with an unsettling and sinister side.

The album, described by The Guardian as “music as you've never heard it before” and by The Wire, who made it one of their Albums of the Year, as “... a masterpiece”, defined a moment in techno that still echoes today.

Now, 30 years later, the album has been remastered from the original tapes, reminding us why Plastikman is a name that still resonates and that the album’s intensity – on and off the dance floor – has lost none of its potency in the intervening years.

TRACK LISTING

1. Konception
2. Plastique
3. Kriket
4. FUK
5. Outbak
6. Ethnik
7. Plasmatik
8. Goo
9. Marbles
10. Lasttrak

Funkyjaws Music is back to make your body move with the latest instalment in its ongoing edit series, Let's Dance, this time with a sixth sizzling volume. Monsieur Van Pratt's loose and languid 'Besame' opens up with some gorgeous strings and funky guitar licks then Kiko Navarro brings a rich Afro flavour with the shuffling and percussive rhythms of 'Bosinga'. Bogdan Ra's 'Get On The Floor' is a fresh take on a disco classic with irresistible vocal charm and swooning pads. Last of all, Zaffa demands you 'Shake It' and you surely will as he layers up wet claps, sliding hi-hats and lively drums into a big-hearted party starter.

TRACK LISTING

Monsieur Van Pratt - Besame
Kiko Navarro - Bosinga
Bogdan Ra - Get On The Floor
Zaffa - Shake It

Cloth announce a limited edition repress of their self-titled debut album. Long out of press it's now back to celebrate 5 years since its release. The album has been lovingly pressed onto red transparent vinyl.

TRACK LISTING

1. Other
2. Felt
3. Demo Love
4. Sleep
5. Curiosity Door
6. Old Bear
7. Taxi
8. Tripp
9. Moons
10. Brooklyn

Devotees of Richard Swift know that his catalog is sprawly and imaginative, packed with as many finely-honed stone cold classics as one-take, madman experiments. The gems take all shapes and sizes, and while it doesn’t phase the diehard, it does make Swift’s music tricky to introduce to the newcomer: Where to start? What makes the cut? How many crooners? How many wild ones? It’s with this in mind that Secretly Canadian presents '4 Hits & A Miss', our humble swing at gathering the forty-seven minutes and fourteen songs that can initiate the uninitiated. If you don’t know Richard Swift, let the incomparable Kevin Morby catch you up: There’s an old boy-scout myth I heard about as a child where, if you put the right person in the middle of the forest, armed with only a Swiss Army knife, they could build you a chapel.

When I think back on this myth I end up thinking of Richard Swift who, if dropped in the middle of the forest with only a $10 Radio Shack microphone, would somehow construct a studio and within that studio build you a chapel of sound. In fact, he essentially did exactly this at his own National Freedom studio in the middle of the Oregon woods, in a town called Cottage Grove where he recorded countless hours of both his own and other people’s music.

Those chapels of sound will, and I have witnessed it already, awe and inspire generations to come - in the same way that those stone chapels of early Europe do. Each leaves people bewildered and wondering: how was something so massive and so beautiful constructed with such minimal and archaic tools - and in Richard’s case, so quickly?

Once they’ve passed away, most artists seem to finally rest, their catalogs resting eternally beside them. But Richard, from somewhere in the great beyond, seems restless, and the work he began down here on earth continues. His last album, 'The Hex', was released only a few months after his untimely death in 2018 and now, with '4 Hits and A Miss', we have a collection of his most beloved songs all in one place, as well as a new unheard ever before track 'Common Law', recorded around 2012.

Whether you’re a casual fan or a Swift purist, '4 Hits & A Miss' is either a perfect starting place or a destination for us devoted fans to find, yet again, something new to awe and inspire. Like a hidden room inside his already impressive chapel, there’s always something new to discover from our beloved friend and hero, the late great Richard Swift.

Enjoy.

TRACK LISTING

1. The Original Thought
2. Dirty Jim
3. Would You?
4. Atlantic Ocean
5. Buildings In America
6. Common Law
7. Broken Finger Blues
8. Lady Luck
9. A Song For Milton Feher
10. The Songs Of National Freedom
11. The Novelist
12. Ballad Of You Know Who
13. Whitman
14. Walking Without Effort Theme

Pure Life is proud to present "Red Gates" a new collaborative work from musician Hyetal, visual artist R3N, and author Tim Maughan (Infinite Detail).

Inspired by contemporary sci-fi-like chaos, wellness tech, and megalomaniac CEOs, "Red Gates" is an abstract, multi-format, first-person narrative experience. It details the visions experienced when a near-future VR meditation device is alpha-tested by its creator in an immersive journey told through three intertwining mediums—sound, visuals, and writing.

Marking his first LP release since 2017’s "Youth & Power", London-based producer Hyetal uses unique production techniques to soundtrack the virtual world. Speech samples are twisted into rhythmic mantras and pulsing atmospheric synths provide rhythm, melody and dynamic cinematic sound design. "Red Gates" plays on the memories of its main character, referencing early rave, analog synth scores, digital experimentation, and post-rock.

welcome to Red Gates
v. 0.126b
step through

STAFF COMMENTS

Barry says: An endlessly deep, filmic experience that drifts from shimmering, barely shifting ambience to paddling digital stabs and incidental glitch fragments. A deep, immersive ride from some undoubtedly talented producers and one of the best labels in the game.

TRACK LISTING

1. The Bridge 03:28 
2. Runner 04:20 
3. Crystal Range 02:28 
4. Ceremony 04:27 
5. Face My Ghost 05:12 
6. Light Flash 03:58 
7. Hyper Prayer 02:43 
8. Furnace 04:08 
9. Red Gates 04:32 
10. Safe And Well 03:40 

It's always a good day when a Pure Life record lands on my desk. This time, it's been a little while since it landed on my desk (sorry Andrew xx) but if anything, that's made the wait all the sweeter. As ever, the visual aesthetic of any PL record is absolutely on point, and anyone who heard the piccadilly chart-bothering Cult Member release from earlier this year will know, the quality of the music is always first rate. 

This time sees the shadowy Phazma smash out a bristling neon-city filled suite that is both incredibly futuristic and forward-facing while effortlessly absorbing and reconstituting elements of all of my favourite electronic music from the 90's and 00's. There are hints of flickering braindance and alien textures, slamming acid breaks and snappy hi-passed breakbeats, woozy aquatic drift and the solid core of meditative ambience and crsyalline digital percussion. In short, if you're a fan of any sort of electronic music with a bit of drive, you'd do well to pick up this beauty. Big recommend. 

STAFF COMMENTS

Barry says: Impeccably manicured avant dance music that's both wildly inventive and perfectly produced, encompassing elements of breakbeat, braindance, IDM and a whole host of others seamlessly. A triumph in design and execution, and another release that's perfect for legendary MCR synth institution, Pure Life.

TRACK LISTING

1. 2049 03:12
2. RONIN 04:33
3. Dead Aim 05:05
4. Ninsei 05:57
5. Futurizms 03:56
6. Flash Clone 05:36
7. Brain Dive 06:17
8. Ishimura 05:24
9. Cyber City 04:32

The outstanding original cut of the late Hortense Ellis' Hell & Sorrow, originally produced and released by Jimmy Radway for his Fe Me Time label in the mid 1970s and backed with the legendary Big Youth's DJ counteraction Tribulation - now reissued via Death Is Not The End's 333 series.

TRACK LISTING

1. Hell & Sorrow
2. Tribulation

Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.

The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?

As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.

It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”

Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.” 

TRACK LISTING

1. A Happy Death
2. Flesh Of Lost Summers
3. The Light At The End
4. Partings
5. A Collapse Of Horses 
6. The Mountains Are A Dream That Call To Me

The Lost Record is the underground rock 'n’ roll exploitation sci-fi film of this time. Starring Pauline Jorry andf eaturing appearances and contributions from Henry Rollins, Emmett Kelly, Michelle Mae, Paul Zone, Howie Pyro, Kid Congo, Crush, Automatic Band and scores of other underground notables, The Lost Record—directed and produced by Ian F. Svenonius and Alexandra Cabral—is a film set in a murky indeterminate future / past world where one record, The #1 Record, holds sway over society. In this world The #1 Record is unavoidable and ubiquitous; pumped out nonstop on the airwaves, intercom, and television with its irresistible and infectious message of totalitarian consumer control. The status quo is challenged when a protagonist—played by Pauline Jorry—a worker on an art assembly line, stumbles on another record at a junk-shop which is neglected, lost, and unplayed.

Called The Lost Record, it suggests another way to live; another set of values. Enchanted, she begins to play it for others, much to the consternation of the authorities. Can / will it challenge the #1 Record? And what will happen if it succeeds? Based conceptually on the Escape-ism song of the same name, the soundtrack features a beautiful original score by Alex Minoff (of Golden, Extra Golden and Weird War fame) plus music by Emmett Kelly, Escape-ism, The Make Up, plus sound blurbs from this singularly poignant, funny, and affecting film which has won citationsand & notices at Belgrade's Kinoskop festival, Indie Lisboa, and the Chicago Underground Film Festival among others.

Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.”

Actress delivered his mix for RA in June and it was suprisingly all new and exclusive Actress music. When asked if this was a new album, Actress aka Darren S.Cunningham simply answered that "it's a collage -Braque". Whatever you call this, a mix, a mixtape, a collage/braque, a new album, what it is, is another Actress statement. Actress grows music. Completely unconcerned with what it is, with what format it is or what it's defined as.

TRACK LISTING

1. ДАРЕН ДЖ. КАННІНГЕМ

Fables of the future fuel the present. Lisel (Eliza Bagg) draws from this tradition on The Vanishing Point, a daring musical odyssey of altered singing, experimental pop, broken melodies, and striking electronics. A culmination of her continual dissemblance of genre, Lisel’s new album is an epic composed of allegorical tales, forming a dystopian storybook of life in the shadow of impending catastrophe. It’s a high-concept work of contemporary pop sounds, hyperpop motifs and tropes. Every song reflects the shared psycho-emotional experience of moving towards unsettling futures and looking beyond these outcomes, to the point where the horizons vanish. Evolving the sonic toolkit she employed on Patterns For Auto tuned Voices And Delay (2023), Lisel transforms pop into a canvas for operatic storytelling. Along with making her own work, Bagg is a classical singer working in baroque and contemporary experimental opera, and with her project Lisel, she seeks to develop new, expressive qualities out of ancient vocal techniques from the Baroque and Renaissance periods. Her opera experience has infused her with a desire for a big, cinematic sound and holistic world-building, creating a “total artwork,” and she fits that medium into the form of a solo project. From haunting whispers to soaring melodies, she reaches back towards ancient musical traditions while incorporating futuristic sounds in order to imagine how a possible future might look back at contemporary existence. Dystopic stories melt into pop songs, hammered to ruin. Both through sonics and lyrics, the album recounts urgent narratives as ancient mythological fables, chronicling in operatic density the deepening awareness of the world’s looming, inevitable vanishing point. Photographer Carla Rossi further builds Lisel’s world through a series of photographs that similarly draw on Renaissance and Medieval painting, while placing them aesthetically in a digital realm. In these dramatic, hyper-stylized photos, Lisel takes up classical poses and yields iconographic symbols, further exploring the dissonance in her work as these manufactured “paintings” recall storytelling of the past while depicting images from an imagined future.

Ivan The Tolerable Trio are back with an alternate version to the amazing Infinite Peace. 2 epic tracks to take you away into infinite space! "When we went in to ATA studios in Leeds to record the Infinite Peace LP - it was always the plan to have two versions of the album - a straight mix that documented what we actually recorded there in its pure form and another version that would rearrange everything into a new shape. Once the LP was out, I passed all the stems to my old pal/former bandmate and frequent collaborator Ajay Saggar (Bhajan Bhoy/King Champion Sounds/University Challenged) and asked him to remix it in a way that sounded nothing like the original record. Its a much more ambient and floaty affair - more Popol Vuh than Sun Ra a full drift spread across two 22 minute suites. This is what he did - infinite space - we hope you like it." Oli Heffernan, September 2024.

TRACK LISTING

1. Infinite
2. Space

Four years have passed since Young Knives’ last studio outing – 2020’s aggressive and philosophical look at humanity’s propensity for hyper-violence, 'Barbarians' – and during this time the band have taken a step to consider the changing of the world around them, their place in it, and the sometimes-futile pursuit of controlling what it is that we leave behind when we’re gone.

Music fans will pick-up on the tongue-in-cheek use of the word "landfill" as an album title from a band that emerged during the post-indie-rock-revival of the 00s. But rather than dwelling on the derogatory landfill stick that has sometimes comes to beat them, Young Knives instead use this coming phase of their career to contemplate the nature of existence and how best to catalogue it through song. As lead singer and guitarist Henry Dartnall puts it, “it’s a record is about letting things go before they are taken from you, including the carefully curated images of ourselves. Embracing everything the world throws at you and not taking it to heart.”

Fans of Young Knives may be forgiven for thinking that 'Landfill' may be about to enter nihilistic territory, and with the band being evicted from their long-time home and studio during the recording process it is true to say that the album is imbued with a fear of the unknown, as adrenaline stokes the fires of vitriol. However, the record is far more concerned with retaining a philosophical outlook on how we view the passing of time, best exemplified by lead single ‘Dissolution’, which is partly inspired by the Hitchiker’s Guide To The Galaxy quote “Time is an illusion. Lunchtime doubly so.” Dartnall expands: “I love ideas like this. What an amazing way to present such a deep idea but also make it fun. I just wanted to experiment with doing our version of that. You can’t force ideas on people, you can just suggest them and leave them hanging in a way that people might one day consider if they feel like it.”

Opening up more about the single, he continues: "This song is kind of dumb. The words are about the dissolution of the ego or ego death; a thing that appears in eastern religions and was written about in Joseph Campbell’s “A Hero’s Journey”. It’s the refocusing of your attention on the part of you that never becomes yesterday and can never become tomorrow, or something like that. It’s very similar to what people report from psychedelic experiences too. The problem is that writing and performing rock music is very much rooted in the world of the ego, so the idea of my big ego mouth shouting words about ego death is ridiculous. But then I thought that contradiction was kind of fun too."

We recorded the song to an old tape machine as a throwaway experiment. The tape we used was from a car boot sale and all perished and dusty. The channels of the tape machine kept failing because they were all clogged up with tape oxide. It was a live take and we did it with our friend’s Silke and Max Blansjaar playing drums and piano. It was also recorded at the end of our time in the studio we have had since we started together, so we were in the middle of packing it down. It felt like we were dismantling everything about our band and music so it all made sense at the time and felt very apt"

As a parting thought on the idea of identity and legacy, he offers: “We often think we have to fight the world to get success and legacy, or even just security and other such weird concepts. But even the most successful people in history have only postponed their second death (the last day someone says your name) by 500 - 2000 years tops. After that you are 'Landfill' FOREVER. So why do we do it to ourselves?”

TRACK LISTING

1. A Memory Of Venom
2. Ugly House
3. Cause & Effect
4. People From The Second Way
5. Dissolution
6. No Sound
7. Your Car Has Arrived
8. Completely Gone
9. Love The Knives
10. Fresh Meat

Those ‘Spoiled Brats From Malibu’ are back! Hot on the heels of the 'My Beach' reissue, Futurismo present Surf Punks classic 1982follow up - 'Locals Only'.

The remastered version of this long out of print LP comes in limited edition ‘Beach Gunk’ coloured vinyl and contains two bonus tracks. It is packaged in a gloss laminated sleeve with redux artwork featuring a brand new colour scan of the cover photo, plus acolour inner sleeve and a large fold-out poster.

A raucous love letter to beach life in Malibu, 'Locals Only' is a tongue in cheek, culturally observant, fully anarchic slab of new wave punk fun that is not to be missed. Out was the clean-cut 60’s surf culture innocence of The Beach Boys, in was Surf Punks brand of attitude fuelled 80’s surf rock, lampooning everything from lifeguards to valley kids to shark attacks. Surf Punks wild abandon was captured perfectly in Richard Uppers wonderful cover photograph, featuring the band sprawled out on a beach adorned with surfparaphernalia and beer. Originally only used in black and white on the back cover, here it appears on the front in full colour for thevery first time. Make no mistake, Surf Punks were the real deal, fully committed to the beach life concept in both reality; Drew Steele and Dennis Dragon were hardcore surfers, and on stage; where they constructed a full size lifeguard tower and beach set up. A taste of the bands live mayhem can be seen in their memorable section of the cult music documentary Urgh! A Music War.

Unmistakably a product of the 1980’s, 'Locals Only' is a neon splattered punk fused party bomb that was about ‘not taking life too seriously’ even if the band themselves were serious musicians at heart. During the 80’s surf culture was thrown into populist overdrive in fashion and film, but Surf Punks were doing it first. Long before the beach bum cliché the band were writing a commentary on Californian culture, in real time. An essential document of the era, 'Locals Only' is a vibrant amalgamation of new wave, surf rock, pop and SoCal punk all wrapped up in a catchy, obnoxious, irreverent package that could perhaps be considered ararity, in that it had th musical chops to back it all up. For fans of Descendents, The Ramones, Agent Orange and Devo

TRACK LISTING

1. Locals Only
2. Shark Attack
3. No Fat Chicks
4. I’m A Valley
5. Tube Rider
6. Water Sports
7. Born To Surf
8. Spoiled Brats From Malibu (II)
9. Hey, Mr. Lifeguard
10. Kanan’s Doomed
11. Tijuana Weekend
12. New Lead Guitar
13. Spoiled Brats From Malibu (I)
14. Sealed With A Kiss
15. I Got Gas (Bonus)
16. Hot Sand, Cold Feet (Bonus)

Influential DJ, producer, radio-DJ and founder of the Acid Jazz and Talkin' Loud labels Gilles Peterson has handpicked his jazz favourites from the immense catalog of the Dutch jazz Timeless label. Included are Pharaoh Sanders' cosmic jazz "Moonchild”, vocal jazz from Carter Jefferson's "Why", danceable jazz from Tom Grant "No Me Esqueca" and Art Blakey & The Jazz Messengers' "In Case You Missed It". In 2015, Peterson put together a Japan-only CD compilation of 10 of his favourite tracks, but for this version, the CD track list has been augmented with the previously unreleased version of "Mode For Joe" by Cedar Walton Trio and “World Peace” by Timeless All Stars, and on the vinyl version you'll find the previously unreleased version of “Gibraltar (Alternate Take)” by Kirk Lightsey Trio feat. Freddie Hubbard as well as “World Peace” by Timeless All Stars.

TRACK LISTING

CD:
1. Pharoah Sanders – Moonchild
2. Carter Jefferson – Why
3. Tom Grant – No Me Esqueca
4. Eddie Harris – La Carnival
5. Rodney Jones – Articulations
6. Art Blakey & Jazz Messengers – In Case You Missed It
7. Eastern Rebellion – Bolivia
8. Joanne Brackeen – Haiti B
9. Brian Melvin Feat Jaco Pastorius – Zen Turtles
10. Timeless All Stars – World Peace (Bonus Track)
11. Cedar Walton Trio – Mode For Joe (Previously Unreleased Bonus Track)

LP:
1. Pharoah Sanders - Moonchild
2. Kirk Lightsey Trio Ft. Freddie Hubbard - Gibraltar (Alternate Take)
3. Carter Jefferson - Why
4. Tom Grant - No Me Esqueca
5. Eddie Harris - La Carnival
6. Rodney Jones - Articulation
7. Art Blakey & The Jazz Messengers - In Case You Missed It
8. Eastern Rebellion - Bolivia
9. Joanne Brackeen - Haïti B
10. Brian Melvin Feat. Jaco Pastorius - Zen Turtles
11. Timeless All Stars – World Peace (Bonus Track)

Affectionate Punch is the debut studio album by the Scottish post-punk and new wave band the Associates; it was released on 1 August 1980. From the album, “The Affectionate Punch” and “A” were released as singles. Upon its release, The Affectionate Punch was declared “a kind of masterpiece” by Paul Morley of the NME, who described it as “a passionate cabaret soul music, a fulfilment of the European white dance music Bowie was flirting with back then.” None other than Robert Smith (The Cure) can be heard doing backing vocals on “The Affectionate Punch” and “Even Dogs in the Wild” and Nigel Glockler (Saxon) is the drummer on the album.

TRACK LISTING

Side A
1. The Affectionate Punch
2. Amused As Always
3. Logan Time
4. Paper House
5. Transport To Central

Side B
1. A Matter Of Gender
2. Even Dogs In The Wild
3. Would I… Bounce Back
4. Deeply Concerned
5. A.

Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats. Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall. Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”

TRACK LISTING

SIDE A
1. So What
2. Walkin'
3. Joshua/Go-Go (Theme And Announcement)

SIDE B
1. Four
2. Seven Steps To Heaven
3. There Is No Greater Love/Go-Go (Theme And Announcement)

Started in 2017, 'PHANTOM BRICKWORKS' is an ongoing ambient/drone project by Stephen James Wilkinson a.k.a. Bibio. The work explores the human echoes still present in various sites around Britain. Wilkinson has visited these locations, observed their gradual decline, and responded with improvised and composed music.

New in 2024, a sequel titled 'PHANTOM BRICKWORKS (LP II)' is a 10-track LP, mastered by Guy Davie and vinyl cut by Hendrik Pauler. The new record draws attention to new sites - some are intriguing, vast scars on the natural landscape, others survive only in local memories, historic clips and photographs. A few remain submerged from ordinary sights, while some exist purely as legends and stories.

TRACK LISTING

1. DINORWIC
2. DOROTHEA’S BED
3. PHANTOM BRICKWORKS VI
4. SURAM
5. LLYN PERIS
6. PHANTOM BRICKWORKS VII
7. TEGID’S COURT
8. BROGRAVE
9. SPIDER BRIDGE
10. SYCHDER MCMLXXXIX

Having passed – at least figuratively – through hundreds of years over the course of their previous two albums, the good ship High Llamas docked, fully loaded, into a congenial present moment for once in its life. O’Hagan’s continued work with Tim Gane and Stereolab caused a healthy dose of electronica to spike the Llamas’ already heady brew, creating an apex of late 90s-style neo-exotica. RIYL: Mouse On Mars, Oval, Grand Royal, Dots and Loops.

TRACK LISTING

1. Twisto Teck
2. The Sun Beats Down
3. HiBall Nova Scotia
4. Tilting Windmills
5. Glide Time
6. Bouncy Glimmer
7. Three Point Scrabble
8. Homespin Rerun
9. Painters Paint
10. Evergreen Vampo
11. Showstop Hip Hop
12. Over The River
13. End On Tick Tock
14. Didball
15. Jazzed Carpenter
16. Lobby Bears

After the high times and critical-mass arrangements of the previous two records, 'Snowbug' exuded a breezy, spare, morning-after vibe. Edified by all manner of world-folk, classic Brazilian pop and the first volumes of the Ethiopiques comp, the Llamas recorded in London with Fulton Dingley and in Chicago with Bundy K. Brown and Jim O’Rourke engineering at Electrical Audio and John McEntire mixing at Soma. Snowbug is an understated, underrated gem.

TRACK LISTING

1. Bach Ze
2. Harpers Romo
3. Hoops Hooley
4. Cookie Bay
5. Triads
6. The American Scene
7. Go To Montecito
8. Janet Jangle
9. Amin
10. Daltons Star
11. Cotton To The Bell
12. Green Coaster
13. Cut The Dummy Loose

The remix album, with marvellously creative EDM remakes from some of the best powerbook players of the day: Mouse On Mars, Jim O’Rourke, Kid Loco, Schneider TM, Stock, Hausen & Walkman, Cornelius and The High Llamas themselves. In addition to showcasing this emerging new generation of digital masters, the treatments here also highlight an oft-undersung aspect of The High Llamas’ sound – the influence of Krautrock.

TRACK LISTING

1. ShowShowstop Hic Hup (Mouse On Mars Remix)
2. Homespin Rerun (Cornelius Remix)
3. Homerun Übershow (Schneider TM Remix)
4. Milting Tindmills (The High Llamas Remix)
5. Mini-Management (Jim O’Rourke Remix)
6. The Space Raid (Kid Loco Remix)
7. Reflections In A Plastic Glass (3 Point Remix)

The High Llamas discover America – yes, it had been done before, but not via their envisaged pilgrims’ passage. Energized by the breakthroughs of 'Gideon Gaye', they went all-in, producing a wide-screen epic further exploring their unique agenda. The reference points multiplied, stretching through realms of classic pop and jazz, soundtrack music, exotica and neo-Americana, while charting a journey through musical landscapes of abiding lightness.

TRACK LISTING

1. Cuckoo Casino
2. Sparkle Up
3. Literature Is Fluff
4. Nomads
5. Snapshot Pioneer
6. Ill-fitting Suits
7. Recent Orienteering
8. The Hot Revivalist
9. Phoney Racehorse
10. Dressing Up The Old Dakota
11. D.C. 8
12. Doo-Wop Property
13. Theatreland
14. A Friendly Pioneer
15. Cuckoo’s Out
16. Peppy
17. There’s Nobody Home
18. The Hokey Curator
19. Campers In Control
20. Double Drift
21. Island People
22. Incidentally N.E.O.
23. Tides
24. Nomad Strings
25. Pilgrims
26. Rustic Vespa
27. Folly Time
28. Hawaiian Smile
29. Instrumental Suits

This brave foray into conceptual art music produced a jaw-dropping reset on the 20th century pop perspective. The High Llamas engaged songwriting and production with an eye toward filmmaking. Digging through ephemera of choice vintages with post-modern zest, they struck a rich vein they could call their own – a kind of gothic Americana, formal aspects pushed to extremes. The spirit of discovery here can be vibrantly felt over 30 years later.

TRACK LISTING

1. Giddy Strings
2. The Dutchman
3. Giddy And Gay
4. Easy Rod
5. Checking In, Checking Out
6. The Goat Strings
7. Up In The Hills
8. The Goat Looks On
9. Taog Skool No
10. Little Collie
11. Track Goes By
12. Let’s Have Another Look

For the Llamas’ 1992 debut, Sean O’Hagan, working the sextant to navigate a post-Microdisney course in the musical world, posted them up as a guitar pop band (RIYL: NRBQ, Big Star, Steely Dan), with nine exquisitely crafted examples of the oft out-of-step sound. Had there been no more after this, Santa Barbara would still be sought-after buried treasure by the perennial waves of voyagers seeking these sweet, jangling spices to this very day.

TRACK LISTING

1. Put Yourself Down
2. Birdies Sing
3. Banking On Karma
4. Market Traders
5. Travel
6. The Taximan’s Daughter
7. Period Music
8. Holland
9. Apricots

Byrd Out Limited is proud to announce the release of previously unheard music from The Woodleigh Research Facility. The four-track EP ‘Vous Du Music’ pulses with a chugging, acid-tinged electronica recorded between 2016 and 2017.

The EP opens with the title track ‘Vous Du’, a nod to the Gallic black magick musical creations of Erick Legrand, whose track Woodleigh Research Facility reworked here (indeed, Erick is given a credit). ‘Vous Du’ is packed full of blips, beeps and propulsive energy, as well as spoken word interlaced with the unmistakable sound of the 303.

Clocking in at 8 minutes, ‘Between Two Waves’ is arguably the standout track, with a swirling, hypnotic groove that captures the listener. With its insistent beat and interweaving melodies, the track conjures to mind the tide coming in and sweeping you away to a different place.

The third track, ‘Tempesta’ aptly moves to a more stormy place, with industrial noises and haunting sonic layers. But looking to Caliban, we need not fear, the sounds and sweet airs give delight, and hurt not. ‘Tempesta’ is almost reminiscent of a Hardfloor sound, moving along at pace.

Closing out the EP is a remix of ‘Vous Du’ by producer Timothy J. Fairplay, who sharpens the original into a dancefloor weapon of the highest calibre with more acid, more synths, more kick drum. This is harder, dense, acid-flecked techno. Fairplay is a firm fixture of the electronic music scene releasing on Dungeon Module, Pinkman Records and more, as well as formerly being in The Asphodells, and being co-founder of club night and label Crimes of the Future alongside Scott Fraser.

TRACK LISTING

1. Vous Du Music
2. Between Two Waves
3. Tempesta
4. Vous Du (Timothy J. Fairplay Remix)

The limited edition, deluxe version of the vinyl record includes a 7” with the 2 bonus tracks housed in the LP sleeve and is pressed on silver vinyl.

Featuring two new songs, the previously released ‘ECRP’ and new track ‘Bangin’ On The Freeway’, which is accompanied by a video directed by Coco Gordon Moore.

Kim spoke on the new release and 2024, saying, “Feel like I’m just getting started! Thanks for all the love!"

Gordon had a whirlwind year, playing packed rooms and festivals across the world including performances at Glastonbury, Le Guess Who, Bumbershoot Festival and Ohana Festival. Gordon also made her explosive solo late night television debut, performing 'BYE BYE' on Jimmy Kimmel Live!

Recorded in Gordon’s native Los Angeles, The Collective follows her 2019 full-length debut 'No Home Record' and continues her collaboration with Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor), with additional production from Anthony Paul Lopez. The album advances their joint world building, with Raisen’s damaged, blown out dub and trap constructions playing the foil to Gordon’s intuitive word collages and hooky mantras, which conjure communication, commercial sublimation and sensory overload.

TRACK LISTING

LP Tracklist:
1. BYE BYE
2. The Candy House
3. I Don’t Miss My Mind
4. I’m A Man
5. Trophies
6. It’s Dark Inside
7. Psychedelic Orgasm
8. Tree House
9. Shelf Warmer
10, The Believers
11. Dream Dollar

7” Tracklist:
1. Bangin' On The Freeway
2. ECRP

Originally released in 2004, TV on the Radio’s debut album is nine songs about (in no particular order) discordant living, misrepresentation, how nothing can be, life, afterlife, love and love “after hours.” These are pop songs. These are rock songs. These are art songs. Desperate Youth, Blood Thirsty Babes began right where TVOTR’s 2003 debut EP Young Liars left off, propelled into uncharted sonic territory. Undeniably catchy songs with incredible production, arrangements, champion crooning (including stunning a cappella performances) and a host of extras that makes this a seriously solid album. This limited edition 20th anniversary edition adds 5 bonus tracks to the album, including two previously unreleased (neither in physical format nor on digital service providers) tracks - "Dry Drunk Emperor" (2005 studio track) and "Final Fantasy" (2004 album outtake). Side D comprised of 5 bonus tracks. “Seriously, they are next to greatness”. DAVID CROSS. “A Martian mix of space-age sax, sky-high doo wop, séance-strange electronics and the rich, soulful vocals of (Adebimpe)”. MOJO, 2004. 

TRACK LISTING

Side A:
1 The Wrong Way
2 Dreams
3 King Eternal
4 Ambulance
Side B:
5 Poppy
6 Don’t Love You
7 Bomb Yourself
8 Wear You Out
Side C:
9 Staring At The Sun
10 You Could Be Love
Side D:
11 Staring At The Sun (demo)
12 New Health Rock
13 Modern Romance
14 Final Fantasy
15 Dry Drunk Emperor

Formed in Buffalo, New York, in 1989, Mercury Rev quickly grew to become leading figures in left field alternative rock. Earlier albums veered towards experimental, off-kilter psychedelia but by the end of the decade, the band had developed their own brand of serene, piano-based Americana with the acclaimed, best- selling LP ‘Deserter’s Songs’ (1998).

‘All Is Dream’ was originally released on V2 in 2001 in August (Europe) and September (North America) and boasted a more expansive, cinematic production than its predecessor (again courtesy of ex-member Dave Fridmann, by this time arguably the most in-demand producer in alternative US Rock). The record was warmly received by critics and fans alike, enjoying higher chart positions than its predecessor (#11 UK, #17 US, Top 40 in Australia and in various European countries).

TRACK LISTING

SIDE ONE
1 THE DARK IS RISING
2 TIDES OF THE MOON
3 CHAINS
4 LINCOLN'S EYES
5 NITE AND FOG

SIDE TWO
1 LITTLE RHYMES
2 A DROP IN TIME
3 YOU'RE MY QUEEN
4 SPIDERS AND FLIES
5 HERCULES

SIDE THREE
1 PLANET CARAVAN
2 STREETS OF LAREDO
3 I KEEP A CLOSE WATCH
4 NOCTURNE IN C# MINOR, OPUS 27, NO.1
5 BLUE SKIES
6 MASCARA TEARS
7 LUCY IN THE SKY WITH DIAMONDS

SIDE FOUR
1 THE BROOK ROOM
2 SILVER AND GOLD
3 A DROP IN TIME (Demo)
4 WHERE THE MOUNTAINS START TO RISE
5 BACK INTO THE SUN (YOU’RE THE ONE)
6 A QUICK ONE AT ARTIE’S 44
7 MR MOONLIGHT WILL COME
8 COOL WAVES HERCULES (DEMO)

Formed in Sunderland in 2000, The Futureheads spearheaded the UK’s post-punk revival with angular guitars, unconventional song structures and intricate four-part vocal harmonies.

The band’s debut album ‘The Futureheads’ (2004), which included their iconic cover of Kate Bush's ‘Hounds of Love’ (NME Single of the Year 2005), reached number 11 in the UK charts. Praise in 2006 was followed by extensive world touring and further albums; ‘This Is Not The World’ (2008), ‘The Chaos’ (2010) and a cappella album ‘Rant’ (2012) all on their own label, Nul Records.

After a hiatus, The Futureheads returned in 2019 with ‘Powers’ cementing their reputation as a band of joyous vitality.

Ross Millard - Vocals and Guitar
David "Jaff" Craig - Vocals and Bass Guitar
Barry Hyde - Vocals and Guitar
Dave Hyde – Vocals and Drums

TRACK LISTING

1 The Beginning Of The Twist
2 Hounds Of Love
3 Decent Days And Nights
4 Struck Dumb
5 Meantime
6 Skip To The End
7 Good Night Out
8 Radio Heart
9 Carnival Kids
10 Beeswing
11 Jekyll
12 Walking Backwards
13 Worry About It Later
14 A To B
15 Area
16 First Day
17 I Can Do That
18 Listen, Little Man!
19 Heartbeat Song

Ahead of the curve as ever, in 1972 The Residents turned their back on the mainstream music industry and established their own Ralph Records imprint, taking control of every aspect of the recording, design and manufacturing process of their records. Over the next decade, Ralph would release numerous seminal singles and albums by a diverse range of artists from both the US and Europe, capturing the zeitgeist perfectly in the era of punk and new wave, when the DIY aesthetic went overground.

Featuring key singles, vital album tracks and a number of recordings appearing on CD for the first time, as well as previously unheard material from Schwump, Snakefinger, MX-80 Sound and Gary Panter, ‘Buy Or Die!’ is not only an insight into The Residents’ world but also into the workings of their DIY mindset, with most of the tracks here being recorded in the group’s own studio, and released in artwork produced by their own graphics department. From established names such as Yello and The Residents themselves, to lesser-known gems by Fred Frith, Tuxedomoon et al, this is a distinctive snapshot of that experimental and open-minded time and place, as seen through the lense of one of America’s most adventurous artists.

Complete with a 7,500 word first hand account essay from The Residents’ Mysterious Archivist, plenty of unusual and rare imagery and many tracks sourced directly from the Ralph tape archive, all overseen by The Residents (enabled by RA), ‘Buy Or Die!’ will entertain, enthral and infuriate in equal measure.

TRACK LISTING

DISC ONE
1 Ivory And The Brain Eaters - Fire
2 The Residents - Smelly Tongues
3 The Residents - Satisfaction
4 Schwump - Aphids In The Hall
5 Schwump - You're A Martian / Home
6 Schwump – ‘maginary Dreams (Demo)*
7 The Residents - Beyond The Valley Of A Day In The Life
8 The Residents - Tourniquet Of Roses
9 The Residents - Constantinople
10 Snakefinger - The Spot
11 Snakefinger - Smelly Tongues
12 The Residents - Hello Skinny
13 The Residents - Not Available (A Brief Introduction)
14 The Residents - Santa Dog '78
15 Art Bears - Rats & Monkeys
16 Art Bears - Collapse
17 Art Bears - The Winter Wheel
18 Snakefinger - What Wilbur?
19 Snakefinger - Kill The Great Raven
20 Chrome - Meet You In The Subway
*previously Unreleased

DISC TWO 
1 Chrome - I Left My Heart In San Francisco
2 MX-80 Sound - I Left My Heart In San Francisco
3 The Residents - I Left My Heart In San Francisco
4 Tuxedomoon - I Left My Heart In San Francisco
5 Snakefinger - Picnic In The Jungle
6 MX-80 Sound - Someday You'll Be King
7 MX-80 Sound - White Night
8 Tuxedomoon - What Use?
9 Tuxedomoon - 7 Years
10 MX-80 Sound - It's Not My Fault
11 Snakefinger - The Model
12 The Residents - Diskomo
13 Snakefinger - The Man In The Dark Sedan
14 The Residents - Amber
15 The Residents - Shut Up, Shut Up RDX
16 Gary Panter - Tornader To The Tater
17 Gary Panter - Italian Sunglasses Movie
18 Gary Panter - Rozz Tox*
19 Snakefinger - Golden Goat
20 MX-80 Sound - O Type
21 MX-80 Sound - Old Too Fast*
*previously Unreleased

DISC THREE
1 Fred Frith - Dancing In The Street
2 Fred Frith - What A Dilemma
3 Yello - Bimbo
4 Yello - I.T. Splash
5 Yello - Night Flanger
6 Yello - Bostich
7 Yello - Rock Stop
8 MX-80 Sound - Why Are We Here?
9 Tuxedomoon - Jinx
10 Tuxedomoon - Incubus (Blue Suit)
11 Fred Frith - A Spit In The Ocean
12 Fred Frith - Saving Grace
13 Renaldo And The Loaf - A Medical Man
14 Renaldo And The Loaf - Honest Joe's Indian Gets The Goat On The Way To The Cowboys' Conga
15 Renaldo And The Loaf - Ted's Reverie
16 Renaldo And The Loaf - Melvyn's Repose
17 Snakefinger - Breakfast In Baltimore (1981 EP Demo)*
18 Snakefinger - Life Isn't Easy (1981 EP Demo)*
19 Yello - Pinball Cha Cha
20 Yello - Homer Hossa
21 Snakefinger - Eva's Warning
22 The Residents - Would We Be Alive?
*previously Unreleased

Recorded at Rockfield and Olympic studios in September and October 1972, the legendary album followed on the success of the band’s hit single ‘Silver Machine’ and was their first to feature Lemmy Kilmister on bass & vocals and Simon King on drums. Featuring such classic tracks as ‘Brainstorm’, ‘Space is Deep’, ‘Lord of Light’, ‘Down Through the Night’ and ‘Time We Left This World Today’, the album reached the UK Top 20 upon its release in November 1972.

This new edition has been remastered from the original master tapes, has been cut at Abbey Road Studios and is a facsimile of the original 1972 LP release with inner bag and poster. The release also includes a remastered facsimile bonus seven-inch picture sleeve single of the rare German 1972 single release of ‘Lord of Light’ b/w ‘Born to Go” (live)’.

TRACK LISTING

Vinyl:
Side One
1 Brainstorm
2 Space Is Deep
3 One Change
Side Two
1 Lord Of Light
2 Down Through The Night
3 Time We Left This World Today
4 The Watcher
Bonus Seven-inch Picture Sleeve Single
Side A
1 Lord Of Light (German Single Mix)
Side B
1 Born To Go (live) (German Single Version)

2CD:
THE ORIGINAL STEREO MIX REMASTERED
1 Brainstorm
2 Space Is Deep
3 One Change
4 Lord Of Light
5 Down Through The Night
6 Time We Left This World Today
7 The Watcher
Bonus Tracks - Remastered
8 Born To Go (live Single Version)
9 Lord Of Light (German Single Version)
10 Urban Guerrilla (A-side Of Single)
11 Brainbox Pollution (B-side Of Single)

THE NEW STEREO MIXES BY STEPHEN W TAYLER
1 Brainstorm
2 Space Is Deep
3 One Change
4 Lord Of Light
5 Down Through The Night
6 Time We Left This World Today
7 The Watcher
Bonus Tracks
8 Take What You Can
9 Seven By Seven (October 1972 Remake)
10 Brainbox Pollution (Take 3)
11 Urban Guerrilla
12 Brainbox Pollution

Confidence Man’s third studio album sees the delinquent party starters popify 90's UK rave sounds like no one before. Inspired by a recent move to London, meeting their idols KLF, and becoming immersed in the queer club scene, Confidence Man have taken the ideas of hedonism, ecstasy and losing yourself to the music and distilled them into pure a-grade euphoria.

The record spans the electronic spectrum from breakbeat and trance, to left-field Underworld size techno and the “let’s 'ave it” punk energy of legacy artists like The Prodigy. '3AM (LA LA LA)' follows their hugely successful second album 'TILT', which featured breakout single and festival crowd favourite ‘Holiday’. Staunchly defying trends and bringing Janet, Sugar, Reggie and Clarence along for a helluva good time, '3AM (LA LA LA)' feels bigger, bolder and in some ways brutal, but like, in a hot way. '3AM (LA LA LA)' is a welcome escape from the dull wasteland of modern mediocrity, bringing the weird and wonderful world of Confidence Man to the masses.

TRACK LISTING

1. Who Knows What You'll Find?
2. I Cant't Lose You
3. Control
4. So What
5. Breakbeat
6. Sicko
7. Real Move Touch (Feat. Sweetie Rie)
8. Far Out
9. Janet
10. So Tru
11. Wrong Idea
12. 3am (La La La)

Jacobs’ music has been called “fresh and different… a sonic adventure” (Bob Boilen, All Songs Considered) and her voice has been praised as “a singer-songwriter’s dream” (Atwood Magazine). The 9 songs on a t l a s play out like a half-remembered Greek epic of avant-pop proportions, piecing together earthy woodwinds, old-school synths, and shifting rhythmic patterns that enhance her mythinspired spoken word and bilingual vocals, delivered in Dutch and English.

Throughout a t l a s Jacobs explores themes of mythology, religion, and cultural structures while empowering listeners to “become their own saviors in order to navigate the challenges in life.” Lead singles ‘Mala’ and ‘CYTMH’ veer from glossy hi-fi to scuzzy lo-fi at any moment as earthy woodwinds, old-school synths, and shifting rhythmic patterns enhance Jacobs’ myth-inspired spoken word and bilingual vocals, delivered in Dutch and English.

TRACK LISTING

Side A
1.Celeste
2.Cytmh
3.Xylem
4.Owl

Side B
1.P A N
2.A Tl A S
3.Coryfee
4.Dkvdw
5.Mala

Killer wonky modern soul / disco out NYC written by Producer Alan Jones. Rathen than put the instrumental on the flip same as the og, we opted to put a mix with a lower vocal on the B-side, mostly because we wanted a mix to play out ourselves, killer modern 45, do it!

TRACK LISTING

1. You're My Only Desire (Original Mix)
2. Lower Vocal Mix

Founded in the late 1960s by record store owner Seidou Adissa, Albarika Store is one of the most important independent record labels on the African continent. That it was founded in the relatively small ex-French colony of Benin (then still called Dahomey), is a testament to its founder’s musical taste and vision for what the local musical scene had to offer.

Acid Jazz release the first ever vinyl and CD overview of the label and its music, compiled by David Hill of The Soul Revivers and West African musical expert Florent Mazzoleni, who also wrote the in-depth notes.

The compilation provides a look into what was a developing and then thriving post-colonial music scene. It focuses on the label’s biggest and most prolific act Orchestre Poly-Rhythmo and its founder Melome Clement, who released under a variety of names often spotlighting on the musicians that were key to their sound. It also looks at the other established artists on the label such as the incendiary Les Sympathics De Porto Novo and Les Volcans. All of these artists create a unique mix of Westernised Funk, Soul and Latin sounds cross-pollinated with the traditional music of the region.

Elsewhere, we hear the music as it is consumed further by funk and disco, with tracks from the obscure and exceptionally danceable albums by Ipa Boogie and Ogassa - the latter sounding like they have been adding psychedelic rock to their funky brew.

The album is a story of local music, and the way that it was crosspollinated by both the West and the wider regional scene in neighbouring Nigeria. Adissa would often head to EMI’s state-of-theart Lagos studio to record his acts, contributing to the exceptional sonic quality of the recordings, and it is no surprise that the influence of Fela Kuti and Afro Beat is writ large.

TRACK LISTING

Segla
Get The Music Now
E Sa F'Aiye
Aiha Ni Kpe We
Ego-Ibo
Gbeti Ma Djro
Oya Ka Jojo
It's A Vanity
Bakassine Gabou
Nan Man Nan
Gbe We Gnin Wa Bio
Kpede Do Gbe Houenou

Out of print for 15 years, Soul Jazz Records’ ‘Do It Yourself’ features a host of post punk, punk, punk funk / dance and electronic experimentation from UK bands in the late 1970s and 80s that all arrived in the aftermath of punk. As well as loads of great music, the album also charts the rise of the independent music industry in Britain that similarly thrived during this time.

Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines, Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this new 2024 edition comes as a special coloured double vinyl pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.

This fully remastered album comes with extensive sleeve notes and photography as well as interviews with key behind-thescene players - including studios, cutting rooms, print works - that together bring a fantastic insight into the DIY music and culture of this period and the explosion in the independent music industry after punk.

TRACK LISTING

Buzzcocks - Boredom
Fire Engines - Everything's Roses
Glaxo Babies - Shake (The Foundations)
Patrick Fitzgerald - Babysitter
Russ McDonald - Looking From The Cooking Pot
Artery - The Slide
A Certain Ratio - Si Fermir O Grido
Scritti Politti - Skank Bloc Bologna
APB - All Your Life With Me
Blurt - The Fish Needs A Bike
Icon A.D. - Fight For Peace
Throbbing Gristle - Distant Dreams (Part Two)
Krypton Tunes - Coming To See You
Windows - Creation Rebel
The Last Gang - Spirit Of Youth
Thomas Leer - Tight As A Drum
Red Lorry Yellow Lorry - Paint Your Wagon
Biting Tongues - You Can Choke Like That
Tom Lucy - Paris, France

Charleston, SC-based artist Contour announces his new album and debut for Mexican Summer, ‘Take Off from Mercy’.

Working with the likes of Saul Williams, Mndsgn and co-producer Omari Jazz, ‘Take Off from Mercy’ documents a journey through past and present, night and day, denial and serene acceptance. Contour (real name Khari Lucas) envisions ‘Take Off from Mercy’ as an epic within the pitch dark of night leading to a cloudy resolution.

Our narrator is a prodigal son who must wander through the wiles of excess to approach grace; his journey mirroring that of the protagonist in Toni Morrison’s epochal third novel, ‘Song of Solomon’. To deepen these themes, Lucas is revealing the album in three portions - ‘Night’, ‘Evening’ and ‘Morning’. This phrasing reflects the narrative arc of the album while providing a broader sonic context to the singles. The cinematic scope of this voyage comes to the fore in the accompanying three-part short film directed by Lucas and T.V (Tshay, Vernon Jordan III).

‘Night’ drops us off in the dead of night. In the world of this album, a night can steer towards bliss or paranoia. ‘Theresa’’s loping breakbeat, soaring atmospherics and dream logic lyrics gesture towards the sublime, yet even here, there's a foreboding edge. “I’m dreaming of the last time I saw you dancing,” Lucas intones. “Silver linings each time, they hang me.” The subtle swells and countermelodies give ‘Theresa’ its floating, breathing quality. ‘Gin Rummy’, meanwhile, is more foreboding, a gambler's lament that sees our protagonist weaving a cautionary tale. Our hero “searches for heaven,” finds it, then lets it slip through his hands like sand.

Contour’s body of work is evidence of a restless curiosity that culminates on ‘Take Off from Mercy’. Starting off as a beatmaker, Lucas’s vision has broadened over releases like ‘Onwards!’, ‘Love Suite’, and ‘Weight’, spanning from sample-driven soul to covers of Strawberry Switchblade. On ‘Take Off from Mercy’, Lucas eschews samples in favour of guitar-driven songwriting, a move that immediately places him in a metaphysical conversation with a long line of Southern songwriters. “It immediately got me thinking about the itinerant Southern bluesman,” Lucas says. “The guitar as your only companion while traveling, the instrument as a tool to document your own story and carry on generational tales and traditions.”

When speaking about the blues, Lucas cites a line from New York emcee and producer E L U C I D on the provenance of the art form: “There'd be no blues if I was blameless.” Yet in the world of ‘Take Off from Mercy’, the blues are inescapable and we are bound by history, even if we’re under no obligation to repeat it. In the process of writing and recording ‘Take Off from Mercy’, Lucas toured constantly and began to understand underlying themes within his lineage. He discovered his father tried his hand as a musician before a period of wandering. His mother painted a mural that still rests in the Atlanta subway system. And Lucas’s ancestors crisscrossed from south and north and back again during The Great Migration. Our protagonist is still in motion, seeking an answer on some unknown horizon.

TRACK LISTING

If He Changed My Name
Now We’re Friends
Faith
Entry 10-4 (Mood Recipe)
Watchword
(re)Turn
Mercy
Ark Of Bones
Guitar Bains
The Earth Spins
Theresa
Gin Rummy
Reflexion
Seasonal
For Ocean

Cistern is a rock band from Squamish, BC on the unceded land of the Squamish Nation. The restless souls that make up Cistern, a tight-knit gang of four, are comprised of Noah Varley, Noah Wilson, McKinley Languedoc, and Chris Boys. Cistern play rock music like the best bands formed at the periphery: raw, scrappy, intuitive – a group of friends forging awe and anguish into song. As Ursula Le Guin wrote in her Carrier Bag Theory of Fiction, “it’s a strange realism for a strange reality.”

Following debut album Head Full Of Questions earlier this year, Cistern's most recent release is New Standard. Languedoc stumbled upon a different tuning, jokingly rebranding it as “new standard tuning", and somehow, the gag stuck. On “Crisis”, the band tries to make sense of the tangle of personalities. “Metal Detector” unravels as a hymn for those who have chosen to march to their own peculiar beat. “Pendulum” is high-wire, jittery and tense, a song about seeking balance in a world that won’t let you achieve it. The record is a 5 track display of DIY-rock anthem recorded on an 8 track tape machine.

Cistern is a band defined by tight musicianship, harmonious and dissonant instrumentation, do-it-yourself recording and experimentation. With the band already wading knee-deep into the musical chapter that will follow, expect more saturated, tape-warmth dance riffs to come.

TRACK LISTING

1. Crisis
2. Grief 
3. Pendulum 
4. Metal Detector 
5. New Standard

Poppy's highly anticipated new album Negative Spaces out 13th December. Negative Spaces continues the sonic adventurism of this spring’s diamond-radiant industrial anthem “New Way Out,” with Poppy and co-producer Jordan Fish (ex-Bring Me the Horizon). It’s the thrilling sound of an ever-evolving artist redefining their legacy one song at a time, with a welcome understanding that there’s still so much inspiration to be found in the margins yet to be explored, deep within the negative spaces.

Following from their 2022, Top 20 charting album ‘This Is What We Do’, Leftfield drop a remix package of single ‘Full Way Round’ featuring Grian Chatten (Fontaines DC) on vocals. The lead remix comes from Scottish rave master Ewan McVicar on the A side, it’s accompanied by 2 mixes from Leftfield on the B side.

‘This Is What We Do’ was the first album in 7 years from the seminal electronic music pioneers and twice Mercury Prize Nominated act.

TRACK LISTING

1. Full Way Round (Ewan McVicar Remix)
2. Full Way Round (Julie’s Revenge Mix)
3. Full Way Round (Julie’s Drum Mix)

Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be “the most useful thing to do with pain and joy and thoughts and feelings and anger.” That through music we can find great change. “I’m so much better off now that it exists,” she says. “Now feels like a new time.” On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: ‘Brightness entered the study.’ “It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It’s the idea of life beginning now.”

TRACK LISTING

SIDE A:
1. Emmanuelle
2. Cry On Cue
3. Baby Bright
4. Hold It Up
5. Changed Unchained

SIDE B:
1. Second Nature
2. Even Now
3. Hotel Santa Cruz
4. Woman Apart
5. Send It Down The Line

Originally released in 2004, MF DOOM's 'MM..FOOD' is hailed as a classic hip-hop album full of inventive production, brilliant wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects.

Throughout 'MM..FOOD', DOOM embeds complex ideas within seemingly simple narratives. Album opener 'Beef Rapp' is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. 'Hoe Cakes' borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced 'One Beer' to fold layers of depth about escapism and ego, while the popular 'Rapp Snitch Knishes' critiques the self-incrimination and contradictory behaviors of some rappers. Overall, 'MM..FOOD' is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style.

In celebration of the album’s 20th anniversary, 'MM..FOOD' has been repackaged with all new artwork by Sam Rodriguez!

TRACK LISTING

1. BEEF RAPP
2. HOE CAKES
3. POTHOLDERZ FEAT. COUNT BASS D
4. ONE BEER
5. DEEP FRIED FRENZ
6. POO-PUTT PLATTER
7. FILLET-O-RAPPER
8. GUMBO
9. FIG LEAF BI-CARBONATE
10. KON KARNE
11. GUINNESSEZ FEAT. ANGELKIA & 41ZE
12. KON QUESO
13. RAPP SNITCH KNISHES FEAT. MR. FANTASTIK
14. VOMITSPIT
15. KOOKIES

There's No Stopping Us Now: The Female Mods' Forgotten Story' - a title that pays homage to one of The Supremes' many infectious floorfillers - is a celebration of the inspirational women singers and groups who provided a brilliant and timeless soundtrack to an exciting moment in British pop culture.

Bringing together the queens of Motown and Stax, classy chanteuses from around the world, and some homegrown dancefloor divas, these 98 songs on four discs were not only a key component of the enduring Mod scene, but many of the performers, musicians, songwriters and producers were the audible and visible representation of a way of life that publicist Pete Meaden described as "clean living under difficult circumstances".

The origins of the male Mod style are well documented but female Mods were too often relegated to a supporting role, which makes the work of these singers, and musicians, plus the actresses, artists, designers, media figures, models and writers of the time all the more pioneering.

Of course, female singers had been successful prior to the Mod era (among those included here, the great Dinah Washington made her recording debut in '44) but to add some context, in 2023 - some sixty years after the original flowering of Mod - nine of the 16 UK No. 1 singles were performed by or featured female artists. That compares to none of the 17 chart toppers in 1963. 

The inspiration for this new collection came from the book Ready Steady Girls: The Female Mods' Forgotten Story, first published in 2016 as a (quickly sold out) compendium of first-hand accounts by girls and young women drawn to the Mod way of life in the first half of the '60s, or the revival at the end of the following decade.

In 2024 that book is being made available once again, and we have the opportunity to create a fitting musical companion piece to that volume's striking and original words and images.

This stylishly packaged four disc set features female artists who went on to become household names (including a surprising number who found fame as actors), some one-hit wonders, a few acts who only found their audience years later, and a selection of deeper cuts that should get nodding approval from the Mod cognoscenti of either sex. The extensive sleeve notes provide a track-by-track commentary, with informative details of the singer and the song.

TRACK LISTING

CD1:
1. Aretha Franklin - Respect
2. Erma Franklin - Big Boss Man
3. Doris Troy - You'd Better Stop
4. Dusty Springfield - Can I Get A Witness
5. Martha & The Vandellas - Nowhere To Run
6. Dinah Washington Soulville
7. Carla Thomas - Something Good (Is Going To Happen To You)
8. Inez & Charlie Foxx - My Momma Told Me
9. Thelma Jones - Stronger
10. Etta James - I'm So Glad (I Found Love In You)
11. Betty Everett - I've Got A Claim On You
12. P.P. Arnold - If You See What I Mean
13. Billie Davis & The LeRoys - Whatcha Gonna Do
14. The Exciters - Do-Wah-Diddy Diddy
15. Lydia Marcelle - It's Not Like You
16. Brenda Holloway - When I'm Gone
17. Maxine Brown - One Step At A Time
18. Mary Love - Think It Over Baby
19. Nina Simone - I Put A Spell On You
20. The Cake - You Can Have Him
21. Lesley Gore - California Nights
22. Sharon Tandy - Love Makes The World Go Round
23. Mary Wells - What's Easy For Two Is So Hard For One
24. The Velvelettes - These Things Will Keep Me Loving You
25. The Supremes - Stop! In The Name Of Love

CD2:
1. Ketty Lester - Some Things Are Better Left Unsaid
2. Helen Shapiro - Fever
3. Dionne Warwick - Another Night
4. Cilla Black With George Martin's Orchestra - I've Been Wrong Before
5. Julie Driscoll - I Know You Love Me Not
6. Nancy Wilson - Where Does That Leave Me?
7. Baby Washington - That's How Heartaches Are Made
8. Barbara Lewis - Baby I'm Yours
9. Dee Dee Sharp - My Best Friend's Man
10. Timi Yuro - You Can Have Him
11. Patti LaBelle & The Blue Belles - You Forgot How To Love
12. Sonny & Cher - Little Man
13. Ernestine Anderson - Keep An Eye Out For Love
14. Joy Marshall - The More I See You
15. Nico - I'm Not Sayin'
16. Julie Felix - I've Got Nothing But Time
17. Barbara Lynn - You'll Lose A Good Thing
18. Kim Weston - A Little More Love
19. Bettye Swann - Make Me Yours
20. Tammi Terrell - Come On And See Me
21. Jackie Ross - New Lover
22. The Toys - A Lover's Concerto
23. The Shirelles - Too Much Of A Good Thing
24. Kathy Kirby - You're The One

CD3:
1. Lesley Gore - You Don't Own Me
2. Dodie West - Goin' Out Of My Head
3. Kiki Dee - (You Don't Know) How Glad I Am
4. Gillian Hills - Look At Them
5. Francoise Hardy - All Over The World
6. Twiggy - Beautiful Dreams
7. The Honeycombs - That's The Way
8. Dick & Dee Dee - Thou Shalt Not Steal
9. Glenda Collins - Baby It Hurts
10. Dana Gillespie - Pay You Back With Interest
11. Louise Cordett - Two Lovers
12. Sandie Shaw - Girl Don't Come
13. Petula Clark - I Know A Place
14. Lulu - Can't Hear You No More
15. Susan Maughan - Call On Me
16. The Caravelles - New York
17. Julie Grant - Can't Get You Out Of My Mind
18. The Shangri-Las - Right Now And Not Later
19. The Dixie Cups - People Say
20. The McKinleys - Sweet And Tender Romance
21. The Orchids - I've Got That Feeling
22. The Breakaways - He Doesn't Love Me
23. Polly Perkins - The Girls Are At It Again
24. Miss X - Christine

CD4:
1. The Chiffons - One Fine Day
2. The Ronettes - Baby I Love You
3. Little Eva - Keep Your Hands Off My Baby
4. The Crystals - I Wonder
5. Candy And The Kisses - Keep On Searchin'
6. The Ad-Libs - The Boy From New York City
7. The Soul Sisters - Good Time Tonight
8. Brenda Lee - What'd I Say?
9. Goldie & The Gingerbreads - Please Please
10. Millie - Sweet William
11. Derrick And Patsy - Troubles
12. Norma Tanega - Bread
13. Irma Thomas - Break-a-way
14. The Shondells - My Love
15. The Sapphires - Evil One
16. Madelaine Bell - I Really Got Carried Away
17. Elkie Brooks - Something's Got A Hold On Me
18. Cleo Laine - Don't You Pass Me By
19. Aretha Franklin - Baby I Love You
20. Sugar Pie DeSanto - I Don’t Wanna Fuss
21. Fontella Bass - Recovery
22. Dee Dee Warwick - Worth Every Tear I Cry
23. Sandy Wynns - A Touch Of Venus
24. The Marvelettes - Danger Heartbreak Dead Ahead
25. The Supremes - There's No Stopping Us Now

Human Worth are proud to present Sly & The Family Drone’s killer new album ‘Moon Is Doom Backwards’, with a portion of all sales proceeds donated to charity. Moon Is Doom Backwards, made almost exactly three years ago at Larkins Farm, is a patient, stalking, lurking thing. A properly noir thing, as notable for its long stretches of quiet atmosphere as it is for its pummeling skronk. Sly’s is a strange sort of quietude, though. A "drums heard through the wall", "disquieting electrical hum" kind of quiet. An "eavesdropping PI", "solo sax on rooftop" sort of quiet. An attention-grabbing kind of quiet so engrossing that, when our fave neo-jazz wrecking crew actually gets to wrecking - and they still wreck real good - we’re caught off-guard, wrong-footed, defenseless. We get run the hell over by The Family Drone’s quintet of bulldozers. The restraint on display here is something else. The band’s approach is more measured than ever, rendering disruptions of their meticulously crafted sonic spaces all the more meaningful. Those sonic spaces contain the architecture of countless cult horror flicks, B movies, midnight screenings, and cable access shows. It's leather and street gangs and switch blades. Total dark side Leonard Bernstein stuff. Human Worth have pressed up a limited run of ‘Glistening Green' Deluxe Eco Mix Vinyl, housed in a stunning package featuring the art of percussionist Kaz Buckland, with a portion of all sales proceeds donated to charity. ‘Moon Is Doom Backwards is the real deal. Sly & The Family Drone are the real deal. Smash that "buy now" button.’ – Bernie Brooks

TRACK LISTING

1. Glistening Benevolence
2. Going In
3. Cuban Funeral Sandwich
4 . Joyless Austere Post-war Biscuits
5. The Relentless Veneration Of Bees
6. Guilty Splinters
7. Ankle Length Gloves

'A Hard Day's Night' is the third studio album by the English rock band the Beatles, released on 10 July 1964 by Parlophone, with side one containing songs from the soundtrack to their film of the same name.

In contrast to the Beatles' first two albums, all 13 tracks on A Hard Day's Night were written by John Lennon and Paul McCartney, showcasing the development of their songwriting partnership.

Released for National Album Day 2024 on white vinyl.

This new edition of 'Our Music Is Red - With Purple Flashes' expands on
the compilation released by Demon Records in 1998. It features all The
Creation’s studio recordings in one definitive set. 65 tracks over 4CDs
including 'Making Time', 'Painter Man' & 'Biff Bang Pow'.

Disc 1 features the original compilation in mono. Disc 2 includes Alex
Palao fresh stereo mixes created 2012. Disc 3 and disc 4 consist of the
albums 'Psychedelic Rose' and 'Power Surge' that were released after the
band reunited in 1985. The set is complete with an essay by Lois Wilson
and fresh artwork.

There’s still a very real sense that The Creation never got their proper
due. Perhaps they never will but for those in the know, they know. The
Creation are king

TRACK LISTING

CD1 - Mono Mixes 1966-1968:
1. Making Time
2. Try And Stop Me
3. Painter Man
4. Biff Bang Pow
5. Sylvette
6. If I Stay Too Long
7. Nightmares
8. Cool Jerk
9. Like A Rolling Stone
10. I Am The Walker
11. Can I Join Your Band
12. Hey Joe
13. Life Is Just Beginning
14. Through My Eyes
15. How Does It Feel To Feel (UK Version)
16. How Does It Feel To Feel (US Version)
17. Tom Tom
18. Ostrich Man
19. Sweet Helen
20. Midway Down
21. The Girls Are Naked
22. Bony Maronie
23. Mercy, Mercy, Mercy
24. For All That I Am
25. Uncle Bert

CD2 – Stereo Mixes 1966 – 1968:
1. Making Time [instrumental]
2. Painter Man
3. Biff Bang Pow
4. Sylvette [full Length]
5. If I Stay Too Long
6. Nightmares
7. Cool Jerk
8. Like A Rolling Stone
9. Can I Join Your Band
10. Hey Joe
11. Life Is Just Beginning
12. Through My Eyes
13. How Does It Feel To Feel [UK Version]
14. Tom Tom
15. How Does It Feel To Feel [US Version]
16. Midway Down
17. For All That I Am
18. Instrumental # 1
19. How Does It Feel To Feel [instrumental]

CD3 - Psychedelic Rose:
1. Lay The Ghost
2. Psychedelic Rose
3. Radio Beautiful
4. United
5. Doing It My Way
6. Making Time (new Version)
7. Far From Paradise
8. White Knight
9. Spirit Called Love

CD4 - POWER SURGE:
1. Creation
2. Power Surge
3. Someone's Gonna Bleed
4. Shock Horror
5. That's How I Found Love
6. Killing Song
7. Nobody Wants To Know
8. City Life
9. English Language
10. Free Men Live Forever
11. Ghost Division
12. O+N 

Liverpudlian math-rockers Alpha Male Tea Party are known for their effervescent, sprightly buoyant riffs and droll onstage tomfoolery, as well as their reputation as the party animals of the scene. In 2014 the trio released their sophomore album 'Droids', a record that bursts with bright, crunchy guitar licks that spiral around meaty bass lines and crackling drums in a brilliantly fiery mess. High praise came from the likes of Metal Hammer, Total Guitar, The Skinny and Prog Magazine, with Rocksound claiming “"tear-jerkingly beautiful... furious, and all in all, it's pure, 18-carat fun. Fun is never a bad thing, right?" - 8/10. To celebrate 10 years of the release, it is back on vinyl at long last.

TRACK LISTING

1. Happy As Larry, Larry Is Dead
2. You Eat Houmous, Of Course You Listen To Genesis
3. Theme From Mastermind
4. Judas The Tenderiser
5. Athlete's Face
6. You Are My The Rock
7. Your Happiness Was Stored On A Hard Drive And Is Now Corrupt
8. Reach For The Stars Kid But Don't Blame Me If It Makes You Miserable
9. God Is Love But Satan Does That Thing You Like With His Tongue
10. I Haven't Had A Lunch Break Since Windows Vista Came Out

Canadian band the Holiday Crowd as part of the Snowflakes Christmas Singles Club, it was a match too good to not be made. The Toronto, Ontario-based indie rockers formed in 2010 and released a mini-album, a full-length and a 7" between 2012 and 2016. In 2022, the group returned with a new single, 'Party Favours', like their other records released by Portland, Oregon label Shelflife Records. Despite being Canadian, the band's sound is heavily influenced by British indie rock of the 1980s and early 1990s. For their Snowflakes Christmas single, the original four members of the band, lead vocalist Imran Hanniff, guitarist Colin Bowers, British-born bassist Alex Roberts and drummer David George Barnes, reunited to write the original 'Winterland'.

Winterland' takes you right back to the 1980s with its jangly guitar, rolling bass, pounding drums and Imran's warm vocals. The song seems to look back on childhood memories, but the parts about the heart that turned to coal, the last-minute shoppers and the 'graveyard malls' show that there is a deeper meaning to the lyrics. The single's B-side 'Hard Candy Christmas' was written by Carol Hall for the 1978 musical 'The Best Little Whorehouse in Texas'. The song became a hit for Dolly Parton in 1982 when it was featured in the movie version of the musical in which she starred. The Holiday Crowd's reworking of the song perfectly captures the melancholy of the original, with its message of focusing on the sweet things in life, even when times are hard. 

TRACK LISTING

1. Winterland
2. Hard Candy Christmas

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. 

TRACK LISTING

1. Wild Man
2. Greensleeves

Les Pommes De Lune debuted in 2022 on the Los Angeles psych-pop label Hypnotic Bridge with the 7" 'Première Transmission'. The single included a cover of 'Une Fleur', originally recorded by French actress and singer Christine Delaroche, and Status Quo's 'Pictures Of Matchstick Men' - in French. Although the band was new, the members of Les Pommes De Lune had a long history in the Canadian garage and psychedelic rock scene, having played in bands such as Thee Gnostics, The Double Feature Creatures, The Saffron Sect, Les Séquelles, Les Incapables and Le Chelsea Beat. Musically inspired by the British Freakbeat scene of the late 1960s and the French Yéyé sound of the mid-1960s, Les Pommes De Lune have developed their own take on psychedelic rock. The band’s single for the Snowflakes Christmas Singles Club will feature the first Les Pommes De Lune original - although the song sounds like a long-lost gem from 1967. On the B-side we find another cover, of an obscure song by Pussy Cat (French singer Évelyne Courtois).

The original 'La Révolution Des Lutins' ('The Elves' Revolution') and the cover 'Le Plus Fort' ('The Strongest') both deal with the same subject: the revolution of the elves! Inspired by the White Panther's 10-point plan, the elves demand total liberation, toys every day, eggnog and Yule log NOW! Les Pommes De Lune support the elves' valiant struggle with quivering guitars, psychedelic music and rhythms.

TRACK LISTING

1. La Révolution Des Lutins
2. Le Plus Fort

Simon Chesterfield is a new project launched by Simon Barber, co-founder and ever-present member of Yeovil-based indie pop band The Chesterfields. In October, Simon Chesterfield's debut album was released on German label Legere Recordings, a 10" featuring six of Simon's compositions reimagined as an orchestral performance. The single Simon Chesterfield recorded for Snowflakes Christmas Single Club ends up somewhere between the orchestral sound of the 10" and the jangle pop of The Chesterfields. Simon delved deep into the past of The Chesterfields, inspired by a dream he had years ago of his band having a Christmas hit. Now he has turned 'Last Train To Yeovil', a track from the 1988 Chesterfields EP 'Goodbye Goodbye', into the Christmas hit it always secretly was. The true nature of the song is revealed by changing just one word of the lyrics and by the musical makeover that the seven musicians involved in recording the single (including his Chesterfields bandmate Helen Stickland and her daughter Tabitha) gave the song.

For the B-side, the group recorded a cover of one of the absolute classics of British Christmas rock, Greg Lake's 1975 UK #2 hit 'I Believe In Father Christmas'. Simon Chesterfield’s version of the song sounds atmospheric, yet fresh and bright. The cover art is another throwback to the early years of The Chesterfields, as it is a redesigned version of the sleeve of The Chesterfield's second 7", 'Completely & Utterly'. Like the original sleeve, it was designed by The Terrible Hildas, who were responsible for many sleeve designs for the legendary 1980s indie label The Subway Organization. 

TRACK LISTING

1. Last Train To Christmas
2. I Believe In Father Christmas

It has been said that Robbie Basho's art was strongest in concert. To what extent the experience can be reconstituted is uncertain. Whatever the case, 'Snow Beneath the Belly of a White Swan' is the mother lode of Basho live recordings. On these five discs we are treated to some remarkable pieces that have never been published, as well as surprising renditions of old favourites. Compiled from Basho’s sprawling personal collection of master tapes (discovered during the production of Voice of the Eagle: The Enigma of Robbie Basho), and potentially encompassing his entire career, this edition represents a live companion to the studio set Song of the Avatars: The Lost Master Tapes (Tompkins Square, 2020). While the tapes have (in the main) survived incredibly well over the decades (against the odds), please note that some previously unpublished tracks with subpar to poor fidelity have been included.

TRACK LISTING

CD1:
1.Chung Mei - The Chinese Orchid
2. Some Summer Day
3. Sligo River Blues
4. Autumn Nocturne
5. In The Meadows
6. Snow Beneath The Belly Of A White Swan

CD2:
1. The Falconer's Arm
2. Himalayan Highlands
3. The Golden Shamrock
4. Bear Medicine
5. Charles Ives Paints Modern America
6. Portrait Of Fahey As A Young Dragoon

CD3:
1. Song Of God
2. Kowaka D'Amour
3. Pasha
4. Cathedrals Et Fleur De Lis
5. Cantos California

CD4:
1. Green River Suite
2. California Raga
3. Silver Curls
4. The Lady She Is A Waiting
5. Chaconne Fandango
6. Song Of The Stallion
7. A North American Raga (The Plumstar)

CD5:
1. Eagle Sails The Blue Diamond Waters
2. Kateri Tekakwitha
3. Orphan's Lament
4. A Song Of Kings
5. Moon Milk
6. Wonder Song

In their first bout of new music since 2022's critically celebrated 'Mondays at Enfield Tennis Academy', Jeff Parker and his ETA IVtetfind themselves exploring the depths of improvised jazz grooves on 'The Way Out of Easy'. Featuring long time members AnnaButterss (Jason Isbell, SML) on upright bass, Josh Johnson (Meshell Ndegeocello, SML) on saxophone, and Jay Bellerose (Elton John,Punch Brothers), the selections are honed and focused to bring the atmosphere of one specific night's setlist. The delight of the space(now sadly defunct) helped Parker build a beautifully multi-textured, gently-shifting four-dimensional construction out of simple ideas.

TRACK LISTING

1. Freakadelic
2. Late Autumn
3. Easy Way Out
4. Chrome Dome

Tiny Moving Parts is an American emo band from Benson, Minnesota. Formed by brothers William and Matthew Chevalier, and their cousin Dylan Mattheisen, 'Deep In The Blue' is the band’s seventh studio album since their 2008 formation in junior high. Previously signed to Triple Crown Records and Hopeless Records, the band self-released their 2022 self-titled record and continue to self-release with 'Deep in the Blue'.

TRACK LISTING

1. Before I Go
2. Deep In The Blue
3. Dizzy
4. Listen To Your Favorite Songs
5. Time Frame
6. I’ll Be There
7. Paul Bunyan’s Theme Song
8. The Cure (But Not Really)
9. Breeze In July
10. Waterbed P.2

New album from the South African musician and creative visionary, known
for her vibrant, inimitable style and afrming lyricism.

'Full Moon' is a collection of 12 songs which displays Sanelly's unique sonic fngerprint, joyous attitude, distinctive vocals + genre-bending hits.

Recorded in multiple locations while on the road, 'Full Moon' is an introspective yet kinetic display of her versatility. "I can make any genre, I have fun creating music because I'm not limited," she says. Its club-ready beats oscillate between electronic, afro-punk, edgy-pop, kwaito and hip-hop sensibilities.

TRACK LISTING

1. Scrambled Eggs
2. Big Booty
3. In My Kitchen
4. To Kill A Single Girl (Tequila)
5. Do My Dance
6. Falling
7. Gwara Gwara
8. Boom
9. Sweet & Savage
10. I Love People
11. Mntanami
12. I Was The Biggest Curse

Malcolm's Law is a sizzling, maximalist, impossibly complex guitar record. While Waldo’s Gift have been associated with the UK jazz explosion, mainly owing to their focus on improvisation, there are shades here of prog-metal, math-rock, and the more intense ends of Squarepusher or Aphex Twin. “We Trojan-horse metal into jazz venues,” Vine laughs. Unbelievably, every track is a single live performance, recorded with no overdubs or extras. “We’ve tried to multi-track stuff, but it doesn’t sound like us,” he says. “To sound like us is to be a sweaty, chaotic mess, on the precipice of falling apart. We’re all on the limit of what we can physically play, and that’s where the fun comes from.”

TRACK LISTING

1. Candifloss
2. Malcolm’s Law
3. Classic Waldi Anthem
4. Cosy Hour
5. The Galli
6. Cafe Jim
7. Jellyfish
8. This One Is Improvised
9. Last On The Plane

The final album from Stevie’s Mope Grooves, the seminal Portland collective. A 2 hour, 27 track masterpiece of touching, warped music that transcends genre into a realm of pure inspiration.

All profits from this release will be donated to Survived and Punished charity.

TRACK LISTING

1. Controlled Burn
2. Aileen
3. Pieces Of God
4. Forever Is A Long Time
5.Do You Hear Music
6. Home Sick
7. We Won
8. Swail
9. Here Comes The Moon
10. Hallway Of Crucified Angels
11. Fox Highway
12. Harp Circles
13. Wind Follows Me Home
14. Cap Hits The Button
15. Si Fuese Violeta
16. Wall Of Swords
17. Switch Cars
18. Continue & Intensify
19. Les Anges Passent
20. Here Comes The Rain
21. Turning Fire
22. Simple As That
23. Life Is Good
24. Dora
25. Isn't It Hard
26. Tired All The Time
27. Box Of Dark Roses

The new album from Primal Scream - ‘Come Ahead’ produced by David Holmes, is due for release on the 8th of November. Black Science Orchestra have remixed lead track ‘Love Insurrection’ with a tight funky drummer back beat, parping pipes, rolling keys and wooshes of L.O.V.E. The release follows the white label of Terry Farley & Wade Teo’s take on album track ‘Ready To Go Home’ and is sure to follow it’s sold out status.

TRACK LISTING

A. Love Insurrection (Black Science Orchestra Vocal Remix)
B. Love Insurrection (Black Science Orchestra Dub) 

Mayer Hawthorne's debut release on heart-shaped red translucent vinyl. The hanging-by-a-string falsetto and breakbeat production on 'Just Ain't Gonna Work Out' are simultaneously Smokey Robinson and J Dilla – equal parts 'The Tracks of My Tears' and 'Fall in Love'. Where the side A is the breakup song, the flip-side regrets it: 'When I Said Goodbye'.

TRACK LISTING

1. Just Ain't Gonna Work Out
2. When I Said Goodbye

Leftfield bass-centric alt-pop. After getting Mick Jones and Joe Idles to help out on the debut LP, Primitive Ignorant has stepped up to do most of the vox himself on 'Psychic Cinema'. Guitars are banished and Sym's bass dictates the pace, backed up with dirty samples and spare futurepop production. The PI sound has expanded to take in ambient and hiphop tones as well as the colossal rock strut of first single 'Power'. Influences span Young Fathers, Yves Tumor, Nadine Shah, Ghostpoet, Ghost Town, Weatherall, Ashnikko, Warmduscher and Viagra Boys. And, as always, Sandinista and Iggy Pop (who inspired Psychic Cinema’s cover snap by Mr Steve Gullick. Symren Gharial was the bassist in Piano Wire and Eighties Matchbox.

TRACK LISTING

1. A Day With You
2. Salty Nights
3. Trash
4. Acid Eagles
5. No Soul
6. 6am Backwards Smile
7. High Rise Vampires
8. Last In The Riot
9. Power (Song For Iggy)
10. In The Forest

Collector 15th anniversary Reissue of cult debut album “Guns Don’t Kill People…Lazers Do” by Major Lazer. It will be the first local Vinyl release of the album in Europe (2009 US run came as import).

Original 13 track album on Deluxe packaged Double LP Gatefold : printed inners, collector stickers.

TRACK LISTING

1. HOLD THE LINE Feat. Mr. Lex & Santigold
2. WHEN YOU HEAR THE BASSLINE Feat. Ms. Thing
3. CAN’T STOP NOW Feat. Mr. Vegas & Jovi Rockwell
4. LAZER THEME Feat. Future Trouble
5. ANYTHING GOES Feat. Turbulence
6. CASH FLOW Feat. Blakkamoore
7. MARY JANE Feat. Mr. Evil & Mapei
8. BRUK OUT Feat. T.O.K & Ms. Thing
9. WHAT U LIKE Feat. Amanda Blank & Einstein
10. KEEP IT GOING LOUDER Feat. Nina Sky & Ricky Blaze
11. PON DE FLOOR Feat. Vybz Kartel
12. BABY Feat. Prince Zimboo
13. JUMP UP Feat. Leftside & Supahype

Donning a decadent sound described by Resident Advisor as “dark disco meets EBM”, Dina Summer is a collaborative project formed of electro-punk band Frittenbude member Kalipo and dark-disco dj & producer duo Local Suicide.

Their previous work includes the critically acclaimed 2022 album ‘Rimini’, which offers a nostalgic dive into retro disco vibes, along with the 2021 EP 'Who Am I’ and 2024 EP ‘Hide & Seek’. They also contributed to Curses’ 'Next Wave Acid Punx’ compilation, participated in Purple Mag x radiooooo’s ‘2070’ project, and performed at Reeperbahn Festival's prestigious ‘Collide Session’.

With millions of streams and worldwide radio airplay, Dina Summer's music has earned spots on numerous Spotify and Apple Music editorial playlists and has been supported by DJs like Charlotte De Witte, The Hacker, Âme, Dixon, Joris Voorn, DJ Hell, Joyce Muniz, and Dubfire. Their releases have been covered by major publications such as Resident Advisor, DJ Mag, Mixmag, Groove, Spiegel Online, Musikexpress, Tsugi, ELLE, Penthouse and FAZE among others. The new album is a versatile collection of 11 tracks that delve into themes such as empowerment ('No More Tears' & 'Girls Gang'), outsiderhood ('Alien' & 'Zombie'), impermanence ('Promise' featuring Curses and Joshua Murphy), nostalgia ('Halkidiki'), and relationships ('Nothing To Hide' & 'Hypnotized'). While their debut album was characterized by its club-centric sound, drawing from Italo disco and '90s electro influences, this new release explores a richer palette of new wave, post-punk, and synth-pop.

TRACK LISTING

1. Girls Gang
2. Schall & Rauch
3. Nothing To Hide
4. Alien
5. Halkidiki
6. Promise Me Feat. Curses & Joshua Murphy
7. Hypnotized
8. Zombie
9. Disco Goth
10. FOMO
11. No More Tears

1983's 'Multi-Death Corporations' broke new ground by addressing, in the lengthy liner notes and artwork, the growth of corporations and the violent suppression of left-wing politics in Central America. The Austin-based band released material through ex-Dead Kennedys singer Jello Biafra, cited influences such as Black Flag and D.O.A, as well as working with Crass Records.

Penny Rimbaud tells us; “MDC were one of the first American bands to follow the political mantle set by Crass in the UK. Straight-edge purist to the last mouthful of sprouted grass, MDC were equally fierce with their polemic and uncompromising politics. Sharp as a blade, they cut through the crap. ‘They meant it, ma’am’, and some.”

Penny finally notes that “Our (Crass’) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference – rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”

In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, “There is no authority but yourself”, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it – “get out of your own way, we’re all in this together”.

TRACK LISTING

1. Multi-Death Corporations
2. Selfish Shit
3. Radioactive Chocolate
4. No Place To Piss

While 'Love You All Over Again' represents a considered, if free-flowing return to Tunng’s stylistic and aesthetic rudiments, it is also a reflection of the magical cohesion the band have come to realise over time, particularly on stage. “There’s a bizarre chemistry between us”, affirms Becky Jacobs, “which is quite extraordinary given that we’re all very different – especially now that we’ve got kids and live in different parts of the world. And our tastes in music are quite diverse, even if there are things that overlap. Tunng has always been about Mike and Sam at the centre, but there’s something about the six of us – it just works.” Genders agrees. “Chemistry is not just about the individual abilities of the people involved; it’s about facilitating ideas. We always bounce off each other – there are some Herculean email chains... Tunng has always been eclectic; it’s Mike’s production that makes everything coherent.”

Whether it’s that ineffable esprit de corps, the meticulous studio craft or simply a turn of the karmic wheel, 'Love You All Over Again', with its folk-hymnal intimacy, its glimmering lights and long shadows, its unforced fusion of soul and machine, feels like a Tunng album for today – something of a familiar comfort in uncertain times and, equally, a record for the ages. While, as Genders contents, this is not a pop album per se, it is, nonetheless, as melodically generous and lyrically bewitching as it is eccentric and startling, and in its highly detailed, genre-melding production, and in the preternaturally timeless, reverb-less blend of Genders’ and Jacobs’ voices (sporadically joined by Lindsay and the rest of the ensemble’s distinctive shanty choir), as captivating as anything in the band’s considerable canon. 

TRACK LISTING

1. Everything Else
2. Didn’t Know Why
3. Sixes
4. Snails
5. Laundry
6. Drifting Memory Station
7. Deep Underneath
8. Levitate A Little
9. Yeekeys
10. Coat Hangers

From out of nowhere comes a unique collaborative album from Edvard Graham Lewis (WIRE) & Mark Spybey (ZOVIET FRANCE). Mixing lush electronic rhythms, sonic collage, ambient soundscapes and manipulated field recordings, these six compositions form an album with a strong identity. That this is such a vital and fertile partnership should come as no surprise. After all, both men have made careers out of creating confidently questing musics. Lewis with Wire, He Said, Hox, Dome etc. and Spybey with Dead Voices on Air, Beehatch, Altered Statesmen, Zoviet France and so on.

This new album however, is something different again: experimental, yet tightly focused, and not averse to the groove or the sly hook. The pair met via an appearance on a podcast in November 2022, hosted by cEvin Key of Skinny Puppy. They hit it off immediately. “We did a live chat with Graham - which I think, went on for about three days” jokes Spybey. It was Spybey who first broached the idea of collaboration. “It was a bit like shy bairns get nowt: I just said ‘maybe we should make something together.’” And so, with no plan other than to see what might develop, the duo began to assemble the compositions at long distance. Indeed, Lewis and Spybey only met in the real world after the album had been completed. “Mark sent half a dozen tracks in a stereo mix,” says Lewis. “And I looked at the ’topography’, to see where the spaces might be. So then I’d add to those areas. But then, when do you take it away? Sometimes you let it drop off a cliff, land in the shingle, and it gets washed out to sea again.” The process moved at a pace. “Almost everything each of us brought, ending up being incorporated in some way.” Says Spybey. “We didn’t really go down any cul-de-sacs.” As Lewis observes “We have such a sympathetic tone.” Full of inventive sonics that draw on both men’s previous work, ‘Lewis/Spybey’ offers up a richly detailed soundworld.

TRACK LISTING

1. Castle Neptune
2. Boot Island Twin
3. Antler Velvet
4. Trophy Hunters
5. Keep The Way
6. Gray Bay Play Watch

'Lucinda Williams Sings The Beatles From Abbey Road' features 12 Beatles songs that include classic hits such as 'Can’t Buy Me Love,' 'With A Little Help From My Friends' and 'Something.' Williams and her band also take on beloved deeper tracks such as 'I’m So Tired,' 'I’ve Got A Feeling,' and 'Yer Blues.' Being raised on the blues in the South, the latter is a song Williams was clearly meant to sing. Recorded at The Beatles' legendary studio in London, the new collection serves as Vol. 7 of her celebrated Lu’s Jukebox series and is the first new volume in almost four years.

While many great artists have recorded in the hallowed Abbey Road Studios, as it turns out, Williams is the first major artist to actually record Beatles’ songs there aside from the Fab Four themselves.

As an acclaimed, award-winning singer/songwriter for more than four decades, Williams’ music has been highly influential and covered by a multitude of artists. Williams is also an extraordinary interpreter who, like all great interpreters, has the ability to inhabit a song and make it her own. She does just that throughout this selection of Beatles tracks, as she has done on each Lu’s Jukebox volume.

TRACK LISTING

1 Don't Let Me Down
2 I'm Looking Through You
3 Can't Buy Me Love
4 Rain
5 While My Guitar Gently Weeps
6 Let It Be
7 Yer Blues
8 I've Got A Feeling
9 I'm So Tired
10 Something
11 With A Little Help From My Friends
12 The Long And Winding Road

“Things derive their being and nature by mutual dependance and are nothing in themselves.”

It seems to us that Jorg gives birth to music like the process of amphibian metamorphosis. When the eggs that he so painstakingly delivers are ready to hatch, they morph into fully realised life forms. The hatchlings breathe the sweet air and begin to expand into the universal whole, their tendrils burying deep into the immaterial realm; fulfilling their role in the never ending cosmic dance.

Our dance begins with ‘Klarneto’. A joyous moss sprung bassline flings us readily on our ride down rainbow road, the benign cloud creatures that line its path encourage us humorously along with gentle slaps of their glittering percussive tails. Just as we begin to settle into our trip, the kaleidoscopic tiles beneath us give way, but fear not! Jorg’s interdimensional Klarinet swoops out of the clouds beneath us, catching us gracefully on its tail.

‘Rodeo Romeo’ plucks us out of the clouds into Jorg’s boggy pastures below. A flock of low flying digi-gulls glisten in the sheen of the moon, casting shadows above the writhing grass. Until some unruly marsh-dweller gleefully lifts the lid on the Robo-Drip machine, unleashing a chaotic staccato liquid which bubbles happily out, before Jorg calmly guides it back into its box for another night.

Over to ‘Robotomy’. Here Jorg enlists the services of some of his friendly trans-dimensional machine elves, who revel in the opportunity to play a vocal call and response with Jorg’s rhythm section. The dance climaxes with the riser from heaven, dragging us backwards through the pond portal and spitting us out the other side shrieking with joy. We’re not entirely sure what has just happened, but it felt so good.

Finally then to ‘Quirl’. A thigh burning exercise in sub-aquatic dance meditation, urged forward by Jorg’s tentacle laced chords. All encompassing, deeply hypnotic swirls of colourful keys dance across the vista, occasionally breaking out of their melodic confines to make friends with a twisting serpentine resonance. Ultimately our eyes open too soon, but we take comfort that all the phases of continual being will disseminate infinitely.

TRACK LISTING

A1. Klarneto
A2. Rodeo Romeo
B1. Robotomy
B2. Quirl

20th Anniversary edition of the debut album from A Girl Called Eddy. This sumptuous LP is a masterclass in songwriting and delivery. An album that, had it been released in the mid 1970s, would have been spoken of in the same revered tones normally reserved for Tapestry or Pirates. Imagine Karen Carpenter covering the Bacharach song book in Phil Spector's wall of sound and you'd wouldn't be far off this albums genius.

Respectfully remastered by Paul McGeechan (Starless, Love & Money, Friends Again) and released on limited edition coloured vinyl by Past Nigh From Glasgow.

New 2x12" compilation from LSD.
Definitely a trip into a darker dimension

Lou Barlow personified home recording’s rise in the late ’80s and was arguably one of the few key players that changed the trajectory of songwriting as the ’90s charted its cultural course. For the 30th anniversary of his Really Insane 7-inch and Winning Losers EP, Emil Amos and Steve Shelley have compiled an overview of Barlow’s best solo work under the name Sentridoh. Based around an even mix of legendary tracks and extra deep cuts, this compilation focuses on Barlow’s arrangement innovations, signature textural explorations, and radical ability to turn psychological upheaval into classic songs.

TRACK LISTING

1. Untitled
2. Really Insane
3. Wondinwill
4. Chokechain
5. K-Sensa-My
6. High School
7. Afraid Of Babies
8. Brand New Love (Strumental)
9. Strange Love
10. The Free Man
11. Organ
12. Run To You (Bryan Adams)
13. Losercore
14. Cello
15. Not Nice To Be Nice
16. Heartness Crane
17. No Matter What
18. Untitled Strumental
19. Bells
20. Spoiled (live)
21. End

Beehive Beach sees Euros’ melodic and lyrical flair undimmed on this, his 20th solo album.

The album features a stellar band: Stephen Black (aka Sweet Baboo) on bass & clarinet, Stuart Kidd on drums & vocals and Georgia Ruth on vocals & recorder. Recorded at Studiowz in Pembrokeshire by Owain Fleetwood Jenkins.

Euros’ previous four albums have been wholly solo affairs, but Beehive Beach sees Euros taking a different approach - playing and singing live in the studio with a band. “There's something special about capturing a song live in the studio,” says Euros, “it sets the song in a time and place, like capturing an image. It's also a lot of fun”.

Richly melodic, with an undercurrent of melancholia running throughout, Beehive Beach features ruminations on childhood - Black & White Dinner, Ursula's Crow - an ode to 1950s T.V & radio personality Isobell Barnett - Isobell – and celebrations of music and creativity - My Companion, Elspeth on the Shore - as well as self-reflection - A Different Kind of Blue, See-Saw. 

TRACK LISTING

1. Black & White Dinner
2. See-Saw
3. The Same Day
4. When They Leave You
5. Elspeth On The Shore
6. Ursula's Crow
7. My Companion
8. Save Me
9. A Different Kind Of Blue
10. Isobell
11. Patch Of Blue 

Toy Tonics presents the second EP by Lars Dales from Dam Swindle with multi-instrumentalist Lorenz Rhode aka Sound Support.

The new "Everybody Knows" EP consists of four extremely groove infected house music tracks that connect the good things of 1990ies house with the indie disco of the 2000s. Think of Daft Punk in the studio with Kerri Chandler and LCD Soundsystem and you got the sound!

Dutch house wizzard Lars Dales (who also runs HEIST records) and keyboarder and super producer Lorenz Rhode (recently worked also with Purple Disco Machine) connected through their mutual love for dance music. After years of having worked together on several projects, such as the Dam Swindle liveshow, they finally got around to making more and more music together to release their amazing tracks under the name of Sound Support - a fitting name for an act that prides itself on providing the tools for DJs to do their magic. 

TRACK LISTING

A1) Strung Out (Extended Version)
A2) That Song (Extended Version)
B1) Nobody Knows (Extended Version)
B2) Everybody

Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and latin music, to rock-and-roll , rhythm-and-blues, surf, psychedelia, soul and many more) the few pre 75 Cambodian recordings that survived -most of them were destroyed- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years.

Gathered in this amazing album are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made.

So, in 45 years they did more than 2000 concerts in 45 countries. It was time for a new 45rpm 7" single. From the brand-new set they are playing full-on this year, they picked two blinding tracks: 'Great!' and 'The Evidence'. Urgent, willful, adventurous, open hearted and joyfully obstinate. As such, The Ex remains true to that one, indestructible adage: forward in all directions!

Having captured the hearts of countless music fans with their 2018 debut Eyes Closed, HAEVN are back with their latest release, Wide Awake.

Renowned for their distinctive sound, seamlessly blending indie-pop and cinematic elements with ethereal vocals, HAEVN promises an unforgettable experience filled with captivating arrangements, touching moments and instances of true musical vulnerability.

Co-founder of Wallenstein, drummer on two of the most wonderful Krautrock albums (namely "Mother Universe" and "Cosmic Century"), member of the legendary "Kosmische Kuriere", records with Ash Ra Temple and Klaus Schulze. Finally, Harald Grosskopf switched from drums to sequencers and created something breathtaking. And now: "Strom". The evocation of electricity, the virtuosity of the circuit that skillfully intertwines man and machine, an antidote to the triumphal march of desolate musical digitality, you will immediately recognize the engineer behind the soundscapes.

Legendary guitarist Earl Slick, David Bowie's longest-standing lead guitarist, is set to release a brand-new remixed version of a track with Bowie on vocals 8 November 2024 on limited edition 7" coloured vinyl.

Earl Slick and David Bowie's partnership produced some of rock's most memorable music. In celebration of his recent autobiography "Guitar" published by Penguin achieving #1 on Amazon, Slick is now sharing this musical treasure.

Slick recounted a particularly serendipitous moment: "I would never have thought to ask David to sing on my record. It's not that we weren't close -- we'd known each other forever -- but it just wasn't something that would have occur- red to me. But when I called Mark Plati at the studio one day to talk about some sessions I wanted to do, it turned out David was there. He got wind of what we were planning and asked to talk to me. 'I guess you're not interested in me maybe doing a little something on the record?' It was a silly question, of course. And what I figured would be some percussion or 12-string guitar turned into lyrics and an amazing vocal. I'm really excited to finally be able to share it with the world!"

Producer Mark Plati echoed the excitement, saying, "One of the highlights of my career was being in the room when Earl Slick and David Bowie wrote 'Isn't It Evening', and then having the privilege to help bring it to life."

Legendary mixer Bob Clearmountain, who worked on this new version, added, "It was such a thrill and an honour to be working on a David Bowie song again! Recording and mixing the 'Let's Dance' album was certainly one of the high points of my career. His passing was a real shock for me as we had become long-distance friends. Mixing his voice somehow made me feel close to him again."

TRACK LISTING

Side A:
Isn’t It Evening (Radio Edit)

Side B:
Isn’t It Evening (Extended Mix)

‘Sounding like the vibrant lovechild of Badly Drawn Boy's melodic lo-fi folk, The Beta Band's beat-conscious noodling, and the Suppy Furry Animals' penchant for 60s psychedelia, Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope.’ 8.8 on PITCHFORK (2003).

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft.

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

TRACK LISTING

A1 Ease Yourself And Glide
A2 Twilight Mushrooms
A3 Spring's Near
A4 Yo Yo
A5 Ocean House
A6 Find The Heat
B1 Stevie
B2 Platonic Rate
B3 Candlemice
B4 Templechurchmansions
B5 Neon Breeze

The final recordings by Annapolis early emo pioneers the Hated, Flux compiles their 1989 acoustic and electric sessions, home demos, and live shards from their extensive archive. The accompanying 24- page book outlines the last year of the band with essays from founders Dan Littleton and Erik Fisher, a track-by-track oral history, photos, flyers, and lyrics from this vital post-hardcore unit.

“Hostile and magnetic—like perfume wafting through a barbed wire fence.” -  Washington Post

TRACK LISTING

A
1 The Flux
2 Two People Blue
3 Lighthouse
4 Wherever You Go

B
1 T.S. Eliot
2 The Ballad Of Dexter Bunk
3 Miggy’s Delight
4 Fly

C
1 The Flux Too
2 Tumbling Ground
3 Echoes Of Whistletree Park

D
1 Changing Chekov
2 The Flux (live)
3 The Races
4 Third Birthday 

Manchester-based poet, writer and producer Antony Szmierek has announced the release of his debut album, Service Station At The End Of The Universe. The past few years have been a wild ride for the artist. Cutting his teeth on the Manchester spoken word scene and gaining notoriety for his seamless flow skewering everything from the hardships of contemporary British life to finding the unexpected beauty in the everyday, it was the 2023 release of his single ‘The Hitchhiker’s Guide To The Fallacy’ that kicked off his meteoric ascent. The earworming track soon found its way onto the BBC 6 Music airwaves and led Szmierek to be named an Artist of the Year 2023 by the station. There followed appearances on Later… with Jools Holland, a BBC Radio 1 Maida Vale session, multiple triumphant Glastonbury sets and a flurry of comparisons: to the pavement prose of The Streets, the poetry of John Cooper Clarke if he found himself at the Haçienda, or like Jarvis Cocker for the UK Garage generation.

Yet, with the release of his 2023 indie-influenced EP Poems To Dance To and now his banger-filled, dancefloor-focused debut album, Service Station at the End of the Universe, Szmierek cements his sound as one that is distinctly his own. While the album provides a culmination of the deep dancefloor poetry that began with ‘The Hitchhiker’s Guide to the Fallacy’, it also showcases a new side to Szmierek’s writing, producing moments of downbeat, dark poignance. The album produces a cohesive and infectious journey through pop melodic hooks and thumping dancefloor orchestrations.

TRACK LISTING

Side 1
1. Service Station At The End Of The Universe
2. Rafters
3. The Great Pyramid Of Stockport
4. Big Light
5. Yoga Teacher
6. Crumb

Side 2:
7. The Hitchhiker’s Guide To The Fallacy
8. Passingthru
9. Take Me There
10. Restless Leg Syndrome
11. Crashing Up
12. Angie’s Wedding

Let’s get one thing out of the way: Basia Bulat doesn’t live in a château. The property at the heart of the songwriter’s new studio album is at once her apartment, her jam-space - and the inside of her head. 'Basia’s Palace' is a place festooned with love and memory, bad wiring; it’s a paradise that comes alive in the wee hours of the night, at a time that’s suited to video games and Leonard Cohen records, when you sit in all that richness, taking in all the mess we inherit.

Reuniting with co-producer Mark Lawson, she found herself moving through a dreamworld of whispers, synths and early Eurovision tunes, Cohen’s 'I’m Your Man' and Air’s 'Moon Safari', her great uncle’s gauzy Maryla Rodowicz LPs. The result feels like an album that was concealed behind the backings of Bulat’s childhood photos - tracks like 'My Angel', where mystery and romance mingle over squelchy synths + drum-machine, with a soaring string arrangement by Drew Jurecka (Dua Lipa, Alvvays), or 'Laughter' - which was mixed, like all tracks on the record, by legendary engineer Tucker Martine (Beth Orton, Neko Case, The National) - that takes a quiet domestic scene and sees it build to a deafening sublime. 'Disco Polo' is a track Bulat’s been threatening to make forever - a folk-song named for a genre of trashy Polish dance music that was beloved of her father - whereas 'Baby', which took years to finish, makes an elegant dance number out of an oh-too-familiar predicament: “Baby, baby, baby,” Basia sings, “I don’t learn!” At some moments there are shades of Serge Gainsbourg and Brigitte Bardot’s 'Bonnie and Clyde' or Charles Aznavour’s 'Emmenez-Moi'; at others it’s the silicon-shiny sweetness of The Cardigans’ 'Lovefool' or Air’s 'Moon Safari'.

TRACK LISTING

1. My Angel
2. Baby
3. Spirit
4. Right Now
5. Disco Polo
6. The Moon
7. Daylight
8. Laughter
9. Curtain Call

Social media blew up recently with footage showing Emma Noble debuting ‘JazzCazz’ with her 10 piece band at London’s ‘OMeara’, causing Ramrock’s switchboard to go into meltdown. But here is where the story begins….‘Jazzcazz’ is the musical lovechild of Jazz Funk, House and Rave DJ/promoter, Dan ‘The Drum’ Spalding, dance music DJ/producer Ronnie Turner and DJ/chanteuse, Emma Noble. The inspiration for this 100bpm Jazzer was triggered by Dan and Emma’s love for Coffee’s 1980 iconic disco cover of the original 1967 version of ‘Casanova’, sung by Ruby Andrews and penned by the mighty Jo Armstead, The ensuing trip down to Ronnie Turner’s studio brought the demo to life thanks to Ronnie’s masterful production and
Dan’s deft arrangement. Their genius decision to add Emma Noble’s exquisite vocal delivery was the absolute icing on the musical cake and with all the essential ingredients in place, ‘JazzCazz’ was born. The result is a track that could easily have been released on Blue Note in the 60’s and discovered by crate diggers in 2024. The trio’s cool, jazzy retro spin on Ruby and Coffee’s versions exudes timeless dance floor love - it's definitely ‘not all over, Casanova’.

From East End barrow boy to club nights on the Costas, Dan “The Drum” Spalding has deejayed alongside the likes of Norman Jay MBE, Dave Lee, Craig Charles, Brandon Block, Ashley Beedle and Huey Morgan to name but a few. Having spent his early years quite literally banging the drum for his beloved Spurs, the name stuck and so did his love for all things with a beat. Immersing himself since the age of 14 in Funk & Soul, Reggae, Ska, House, Rare Groove and Hip Hop, Dan went on to co-found ‘The Lockdown Legacy’ DJ events raising thousands for local and national charities, DJ’d at FAITH as well as broadcasting on East London’s Totally Wired Radio, owned by Acid Jazz record label boss, Eddie Piller. In 2023, Dan delved into the production side of music fuelled by his thirst for learning and love of music – ‘JazzCazz’ is the first of many more productions to come.

Ronnie Turner needs no introduction to dance music connoisseurs with a career that started in the early ’80s and continues unabated. He has DJ’d alongside the likes of Sean French, Robbie Vincent, Jeff Young, Greg Edwards, Carl Cox, Danny Tenaglia and Tony Humphries to name but a few. Ronnie’s remix credits include Odyssey, Tortured Soul, Noel Mckoy, Bodyrox, Tom Jones, Richard Seaborne and The JBs with releases on Masterworks Music, Atjazz Records and Yam Who's Midnight Riot. He turned festival promotor in 2020 with Faith’s Stuart Patterson and there is a Goa Festival 2024 waiting to happen! Debuting as a solo artist in 2020, Emma Noble’s sound is rooted in her deep love for rare soul, funk disco and Gospel. Her releases have been embraced by the most respected tastemakers on the scene, receiving radio support from Lauren Lavern, Don Letts, Deb Grant, Tony Blackburn, Gary Crowley, Norman Jay MBE and Eddie Piller, with Craig Charles describing her arrival on the scene as ‘one of the highlights of 2020’. Emma’s 2022 collaboration with Matt Berry resulted in the Psych-Soul cover of Doris’s ’67 release, ‘Beatmaker’, featured on the BAFTA Award winning ‘Toast of Tinseltown’. Emma is also one half of ‘Noble & Heath’, the double decking, dynamic, vinyl only DJ duo, DJ'ing all over the UK & Europe in places such as The Royal Albert Hall, Ronnie Scotts, XOYO, KOKO, Jazz Cafe, 100 Club and festivals including Glastonbury. Her full band line up shows always sell out along with her self-promoted event 'Soul at The Hall' at the Royal Albert Hall’s Elgar Room.

TRACK LISTING

A: JazzCazz - Vocal
B: JazzCazz - Instrumental

Nenor is back on the Fossils imprint with another showcase of raw yet soulful take on deep house following some fine moments on the cultured likes of Mahogani, Defected, and Nervous. This time out he offers up four tracks that have been meticulously crafted, starting with 'The Underground', a dark, emotive groove with menacing pads and organs percussive sprinkles. 'No More' offers a deep, dubby sound with a rather haunting gospel sample while 'What's Coming' is a percussive, high-energy offering with twitchy pads, jumbled bass and beats and a characterful vocal. Closing out is 'The Get Down,' a raw jam that perfectly embodies Nenor's organic, vintage-inspired style - high on fun, classy and charm.

TRACK LISTING

The Undergound
No More
What's Coming
The Get Down

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own.

Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century.

Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.

The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.

TRACK LISTING

A1. Siren And Secrets
A2. Craving Your Embrace
A3. Monkey See, Monkey Do
A4. Invisible Road
A5. There’s No Romance, You’re So Extreme
A6. A Calling / Navai
A7. Smelting Loop 6
B1. Leyla Khanoum
B2. Smelting Loop 1
B3. Bedouin’s Way
B4. Botehcheen
B5. Celestial Shimmer

Warm, rich and sumptuous in sound, ‘Three Piece Suit’ is a heartwarming tribute to the Nigerian immigrant experience. An initial draft of the track first began life at Kokoroko’s studio under the working title ‘Get The Message’.

Crackling through the track’s snug and patiently arranged grooves are subtle touches of funk, adding new dimensions to the band's signature afrobeat and jazz sound in a way that recalls the work of Cymande. Further caressing the instrumentation is the incorporation of the Brazilian nose flute and woozy-sounding synth lines, effortlessly transporting the listeners back in time.

The forthcoming EP will mark Kokoroko’s first dose of new music since the release of ‘Could We Be More Remixes’. The experimental and kaleidoscopic sister project to their 2022 debut album ‘Could We Be More’ which upon initial release earned critical plaudits from the likes of The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine. The release would also garner their first Top 40 placement on the UK Albums Chart, peaking at No.30.

Enlisting some of contemporary music’s most forward-thinking artists like KeiyaA, Ash Lauryn, Stefan Ringer and Hagan to re-imagine the original album through a club-focused lens, ‘Could We Be More Remixes’ marked the beginning of the band being cast beyond spaces unrelated to the jazz sphere. A signal of their incoming next phase.

TRACK LISTING

1. Higher
2. Sweeter Than
3. My Prayer
4. Three Piece Suit (feat. Azekel)

For number 84 in the Brazil 45 Series, Mr Bongo headed to the North of Brazil with these dancefloor monsters by Magalhaes and Os Panteras.

'Xango' by Magalhaes is taken from his 'E Sua Guitarra' album, from 1986, and originally released on Gravasom Records. A stunning, driving Lambada track with haunting vocals and a compelling gusto energy. It has been gaining popularity over recent years with DJs and is a sure-fire, get-out-of-jail dancefloor saver.

On the flip, we find another biggy from Os Panteras, 'Lambada Pauleira'. Also released on Gravasom Records, but a year later in 1987. It is best known for Joutro Mundo's fine re-edit of the track, but here we have it in its original form and with all its quirky brilliance. It is easy to see why, over the years, it has been a staple of some of Brazil's finest DJs' sets, such as Augusto Olivani (aka Trepanado).

TRACK LISTING

Magalhaes E Sua Guitarra - Xango
Os Panteras - Lambada Pauleira

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil

Add on top of that, being sampled by Madlib on the track 'Curls' on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album onCopacabana(1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain' album. But... like many things in life, you shouldn't judge a book by its cover. 'Airport Love Theme', like its name suggests, falls into full- on lounge territory. It is feel- good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Som' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long- running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi , Joao Gilberto and Doris Monteiro.

TRACK LISTING

Airport Love Theme
Afro Som

For number 93 in the Brazil45 series, Mr Bongo present two favourites from the Harmony Cats.

A female vocal quintet (who later became a trio) from So Paulo. They formed in 1976 and were most prolific in the disco period.

'Harmony Cats' Theme' from 1976 is probably the group's best- known track outside of Brazil. Owing a lot to Rhythm Heritage's version of 'Barretta's Theme (Keep Your Eye On The Sparrow)' its wonderfully spacey breakbeat and percussive production with lush, floaty vocals makes it a real crossover classic record.

'Seja Como Nos (De Pe No Chao)' is instantly recognisable. Tucked away on the B-side of their 1979 single 'Tem Dinheiro Nisso' on Young Records, it is a beast of a cover version of The Jacksons' classic ' Shake Your Body (Down To The Ground)'. Nothing subtle or sophisticated here. Just a song of pure disco joy, enhanced with awesome Brazilian production and the Cats' trademark vocal arrangements. A get-of-jail-free card for any DJ that finds themselves stuck with an empty dancefloor, but also one that will put smiles on the faces of the more discerning leftfield club crowds.

TRACK LISTING

Harmony Cats’ Theme
Seja Como Nos (De Pe No Chao)

For number 83 in the Brazil 45 series, Mr Bongo have pulled out a real treat. It features two tracks from Roberto De Melo Santos. Born in 1949 in Recife (Brazil), and despite a small discography, he is considered among the true icons of Brazilian soul music under his artist alias, Di Melo.

His self-titled debut album from 1975 has long been collectible for its irresistible Brazilian- funk sound, pleasing the Brazilian, B- Boy breaks, funk collectors, and sample hunters alike. With original copies for the album now fetching crazy sums, we felt these tracks needed another moment in the sun for all to enjoy.

For this release we selected two of our favourite cuts from this cult album, 'Kilario' and 'Pernalonga'. Coincidentally these two gems were released on Odeon Records in 1975 as a rare promo campacto (a Brazilian 7", which plays at 33rpm). 'Kilario' is a pure Brazilian-soul classic. All the right elements gel together, whilst Di Melo works his relaxed vocal magic over the top. 'Pernalonga', with its catchy guitar and horns intro, loose break- beat drum, has the feel- good factor which some may recognize as one of the samples behind N.A.S.A featuring David Byrne, & Chali 2na's 'The People Tree' from 2009.

TRACK LISTING

Kilario
Pernalongo