‘Million Dollar Baby’ is Pixey’s most accomplished and ambitious pop project to date, written between her bedroom in Liverpool and studios in London over the course of a year and a half. Self-produced by Pixey herself, alongside Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) and Rich Turvey (Rachel Chinouriri, Blossoms, The Coral), the record follows her journey of self-discovery as an artist and shedding the illusions surrounding it. Combining her love for 90s breakbeats with her pop prowess and skill as a producer, ‘Million Dollar Baby’ samples and interpolates some of her favourite tracks to not only bridge the gap between old sounds and new, but to craft an entirely new sound altogether.

“This album is more than just music to me,” she says, “it’s the final form of years of trying to prove myself. I’ve always felt as if I’m so close to something but never quite there. This is the story the album tells; navigating the perception of myself through the male gaze, whilst also trying to take some power back and form my truest identity. The sentiment of the album is this: the path to fulfilment isn’t a performance for others but instead, is a journey of becoming your authentic self.”

Across her career to date, Pixey has picked up acclaim from The Times, The Sunday Times Culture, Notion, The Forty Five, NME, The Independent, DIY, Dork, The Line Of Best Fit, CLASH and more. She has also received swathes of tastemaker support across national radio at the likes of BBC Radio 1, where she has received a plethora of accolades including Best New Pop, Poppest Record, Future Bop, two Tune Of The Week nods and over 100 plays and 20M impressions across her entire catalogue.

TRACK LISTING

Side A
1. Man Power
2. Million Dollar Baby
3. The Thrill Of It
4. Best Friend
5. Damage
Side B
6. Give A Little Of Your Love
7. Love Like Heaven
8. Bring Back The Beat
9. Oxygen
10. The War In My Mind

Dinked Edition Bonus 7":
SIDE A: MILLION DOLLAR BABY (PIANO VERSION)
SIDE B: OXYGEN (PIANO VERSION)

Less than a year after her album Through and Through, Baby Rose returns with Slow Burn, a collection of songs that explode her sonic palette from progressive R&B into a rawer, richer and more sprawling lens of American music. Here, Rose asserts herself as not only a once-in-tenlifetimes vocalist, but as a formidable songwriter connecting the dots where Muscle Shoals meets psych, psych meets jazz, jazz meets Americana, and the right players bring it all together. Produced by BADBADNOTGOOD, Rose and the band found an instant but seemingly endless well of inspiration; what started as an introduction became a day, became a song, became a night, became Slow Burn. Baby Rose was already a powerful position player — she can share the stage with Robert Glasper without breaking a sweat, or close an epic film like Creed III, for which she performed the closing credit song, with steely confidence. When Rose first met with BADBADNOTGOOD the idea was to say hello, get acquainted, see what a collaboration could, over time, potentially become. But the connection was instant, and together they put down lead single “One Last Dance” in just that first meeting. It was Rose’s first freestyle vocal, and it snapped crucial pieces of her vision into focus. “I’ve known deep down there were new spaces and sounds that I could rise to,” Rose explains. “I’ve always been into different sounds that bring in those rawer textures.” And so while the speed of their collaboration thrilled and surprised Rose, the potential and the end results did not. “We moved quickly,” she says, “and it really was a faucet. Once we got ‘One Last Dance’, it became clear everything was going to flow.”

The songs on Slow Burn were inspired in part by Rose’s experiences driving between her family’s home bases: the noise and chaos of DC and the quiet, Carolina countryside. Rose would crank music and let her mind drift, making room for the internal monologues and imagined dialogues you might not otherwise dare to hear. There’s a dreaminess in those moments, and they smolder on Slow Burn: memories lose their realities, feelings replace happenings. Slow Burn’s title track, for example, sets soft, ambling drums against Rose’s lyrical repetitions, as she traces those recollections—some lives, some felt— with patient, insistent desire.

The standout “One Last Dance” arrives disguised as a love song, but is actually an ode to a lost friendship, and an imagined dream of one more day like the old days. Reality blurs with feeling again, vocals layer into lullaby, and BADBADNOTGOOD’s bassist Chester Hansen brings that dreamlike quality to a sneaky, cautious but loving undertone. In fact most of the songs on Slow Burn have that stealthy, shadowed feel, like they’re arriving on tiptoe: intimate but a little dangerous, tender but a little mysterious. As complete and compelling a work as this is, Slow Burn points to a bigger, higher ascent in Baby Rose’s future. “I feel boundless,” says Rose. “It’s one thing carrying the weight of the emotion I’m going to bring as a vocalist and lyricist, but now I feel like I’m the head on a body with all these players and artists and other limbs. I’m in love with that process. When you have the right energy and the right synergy,” she says, “all that’s left is to trust yourself.”

TRACK LISTING

1. On My Mind
2. Slow Burn
3. Caroline Feat. Mereba
4. Weekness
5. It’s Alright
6. One Last Dance

In 1980, The Only Ones released their third and final studio album Baby’s Got A Gun. While they produced the previous two albums, for Baby’s Got A Gun they joined forces with the acclaimed producer Colin Thurston, who is best known for his work with Duran Duran, Talk Talk, and The Human League among others. The album features guest performances by lead vocalist of Penetration, Pauline Murray, on the tracks “Fools” and “Me And My Shadow”. “Fools” is the only time that the band had released a cover version, which is originally a song by American country musician Johnny Duncan. Two years after the album release, The Only Ones officially disbanded.

STAFF COMMENTS

Andy says: The Only One's third and final album may well be their best. What a shame this most influential of bands never managed to make it. Incredible songs like Why Don't You Kill Yourself (droll and funny put down to top them all!), Trouble In The World (an incredible encapsulation of the perils of heroin addiction), and the adorable Oh Lucinda fell by the way side in the real world of pop, but were hugely loved by the band's devoted fan base, and still loved and cherished to this day. What a brilliant band.

TRACK LISTING

SIDE A
1. The Happy Pilgrim
2. Why Don’t You Kill Yourself?
3. Me And My Shadow
4. Deadly Nightshade
5. Strange Mouth
6. The Big Sleep

SIDE B
1. Oh Lucinda (Love Becomes A Habit)
2. Re-union
3. Trouble In The World
4. Castle Built On Sand
5. Fools
6. My Way Out Of Here

The Emmy-winning Comeback Kid himself comes back yet again with a blunt, brilliantly quotable stand-up special. 'Baby J' takes the form of a wide-ranging
conversation between John Mulaney, a kid in the balcony named Henry, and the rest of the sold-out crowd at Boston’s Symphony Hall. And now, you!

John dominates the chat, of course - and while his cautionary tales are a bit too convulsive to be functionally preventative, you probably aren’t here to be cautioned. So have at it!

TRACK LISTING

1. Miss America
2. Lost In New York
3. Star-Studded Intervention
4. Koala Bank Changing Station
5. Dr. Michael
6. A Call From Al Pacino
7. Baby J
8. John, John And John
9. Breaking Up With
10. Your Dealer
11. Mushing Metals
12. Hello Old Friend
13. A Wide Ranging Conversation

Adrenalin Baby was recorded live during the Playland tour in 2014. It includes live recordings predominantly from the iconic Manchester Apollo and Brixton Academy. Marr said he wanted to capture the atmosphere and feeling of the last couple of tours. It contains live versions of tracks from his solo records, Playland, The Messenger, whilst also including songs from earlier in his career, such as Getting Away With It. Adrenalin Baby also features several songs by The Smiths, such as The Headmaster Ritual, How Soon Is Now and Bigmouth Strikes Again.

TRACK LISTING

LP
A1 Playland
A2 The Right Thing Right
A3 Easy Money
A4 25 Hours
B1 New Town Velocity
B2 The Headmaster Ritual
B3 The Messenger
B4 Back In The Box
C1 Generate! Generate!
C2 Bigmouth Strikes Again
C3 Boys Get Straight
C4 Candidate
D1 Getting Away With It
D2 There Is A Light That Never Goes Out
D3 Dynamo
D4 I Fought The Law
D5 How Soon Is Now?

CD
1 Playland
2 The Right Thing Right
3 Easy Money
4 25 Hours
5 New Town Velocity
6 The Headmaster Ritual
7 The Messenger
8 Back In The Box
9 Generate! Generate!
10 Bigmouth Strikes Again
11 Boys Get Straight
12 Candidate
13 Getting Away With It
14 There Is A Light That Never Goes Out
15 Dynamo
16 I Fought The Law
17 How Soon Is Now?

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances.

Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form.

The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity.

On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously.

Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community.

The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own. “

STAFF COMMENTS

Barry says: Clashing, distorted guitars and pumpelling percussion, topped with the near-shouted vocal trilogy of Amy and Kerry Devine and Kate Shore. It's rich in the traditions of punk rock and garage but with a more modern, sardonic vim. Superbly loud, and made for crashing around to.

TRACK LISTING

1. Yawn Porn
2. ID'd At Aldi
3. Vibrator
4. Chaos
5. Invisible Woman
6. My Labia Is Lopsided But I Don't Mind
7. Mild Misogynist
8. Nipple Hair
9. It's Not About The Money Honey

Norwegian artist girl in red started sharing her home-recorded songs as a teenager in 2017. Noted for her candid lyrics about the frustrations of everyday life and relationships, she emerged with catchy, guitar-based indie pop on early tracks, including her viral debut, "I Wanna Be Your Girlfriend," and 2018's "We Fell in Love in October." In 2021, she released her first full-length and studio effort, if i could make it go quiet, hitting number two in Norway and charting on the Billboard 200. A sequel to her earlier October-themed anthem, "October Passed Me By," arrived in 2022.

Originally released in 1975 by RCA via its subsidiary Midland International—and recorded at the legendary Sigma Sound Studios in Philadelphia—these two tracks have never since both been released on the same single up until now, appearing once in unison on an acetate reference recording, copies of which have never sold on Discogs and are believed to be in the hands of 4 collectors worldwide.

Hailing from their brilliantly produced debut ‘I’m In Heaven’, this release skims the cream of the album and hones in on the poignancy, sheer musicality and grit of the Philly sound; combining soaring male vocal harmonies and flamboyant horns with luscious strings and rollicking disco rhythms to fantastic effect. These are readymade and tested dance floor classics, certainly with the legs and drive to make the modern listener get down.

Touch of Class effortlessly blend together the classic Motor City Sound and Philadelphia’s hard-driving disco groove in one fell swoop, records that sound like they have been produced from both the Gamble and Huff and Dozier playbooks, while retaining a unique register exclusive to the group—from John “The Monster” Davis’ nimble flute movements and Larry Washington’s rolling congas on I Love You Pretty Baby to “Sugar Bear” Thornton’s thumping basslines and Roco Bene’s sensational breathwork on You’ve Got To Know Better

TRACK LISTING

1. I Love You Pretty Baby
2. You Got To Know Better

CMAT is the stage name of Ciara Mary-Alice Thompson, a global pop star who lives in Dublin with her grandparents, where she is currently recovering from an AliExpress addiction. Her influences include Dory Previn, John Grant, Paris Hilton, XTC and KFC.

TRACK LISTING

Nashville
I Don't Really Care For You
Peter Bogdanovich
No More Virgos
Lonely
Groundhog Day
Communion
Every Bottle (Is My Boyfriend)
2 Wrecked 2 Care
Geography Teacher
I Wanna Be A Cowboy, Baby!
I'd Want U

Brothers O’Kelly, Rudolph and Ronald, from Cincinnati, Ohio, need no introduction to the Northern Soul scene. Their now legendary Motown output may not have hit in Detroit but it has been a staple of UK club land “forever”. Our top-side – “My Love Is Your Love” – is perhaps the most treasured of their rare soul recordings and, incredibly, was not deemed worthy of a release at the time. It first appeared in 1972 on the UK EMI budget imprint Music For Pleasure on the album Tamla Motown Presents The Isley Brothers (Side 1, track 3). It had to wait a further 40 years before finally being released on 45 as part of the 2013 Motown 7s Box Set. “Tell Me It’s Just A Rumour Baby” is a club anthem and yet another enigma. Again, Motown did not consider it worthy of release in America, but instead, thanks to demand from Northern Soul fans, it was released in the UK on Tamla Motown in 1973. We are proud to release the official 50th Anniversary edition.

TRACK LISTING

1. Tell Me It's Just A Rumour Baby
2. My Love Is Your Love (Forever)

Baby pink print of the Piccadilly Records logo on a teal tote bag.

Stix Records, a sub-label of Favorite Recordings, presents the 2nd release from its new Mellow Reggae Series project. Launched by Mato & Ethel Lindsey with a stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, the series continues with the same duo, now taking over “Baby Come Back”, the underground AOR / blue-eyed-soul classic from Player.

“Baby Come Back” is a true One-Hit Wonder, reaching #1 on the US Billboard Hot 100 in 1977, while very few people might be able to name who performed it. As always, Mato delivers an outstanding version, delighting us with his dubwise production chops. Ethel Lindsey delivers the perfect vocals for this inspired cover. Currently preparing his 1st album to be released on Favorite Recordings, Ethel has a deep passion for AOR and blue-eyed-soul style - which blends seemlessly with Mato's disco-reggae tweaks! 

STAFF COMMENTS

Paul says: A great slice of lilting, hammock-friendly soul-reggae. One of those great tracks that'll have 'em rocking in their bean bags. Can't wait for summer!

TRACK LISTING

A. Baby Come Back
B. Baby Come Back (Dub)

For the first Klasse Wrecks release of 2024, the label looks back to 2020 and a previously digital only track from label co-owner Mr. Ho. During the first lockdown of covid Mr. Ho released '000Baby' as part of the digital 'Homeboys' EP alongside Luca Lozano. An alternative version popped up on the 'Michaelsoft' album in 2021 but the much lauded original has never seen the light of day on wax....until now. The first 10" on Klasse Wrecks also features a suped and sped up interpretation from Om Unit, who expertly increases the pressure with deft 808 bass subs, a half time swagger and dubbed out atmospherics.

TRACK LISTING

A. 000 Baby
B. 000 Baby (Om Unit)

Two superrare & heavy funk cuts from Donnie Sanders. "Shing A Ling Baby" can be found on the incredible "Feeling Nice Vol.4" compilation album. "Naptown USA" is completely unknown and waits to be discovered.

TRACK LISTING

1. Shing-a-Ling Baby (feat. Don Juans)
2. Naptown USA (feat. Don Juans)

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. With their name nodding to frontman Wes Leavins’ teenage pen-pal correspondence with iconic French actress Brigitte Bardot, the Chicago-based band ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.

As shown on their debut EP This House Is Made Of Corners—a five-song project made with nine-time Grammy Award-winning producer Dave Cobb—Brigitte Calls Me Baby possess a singular musicality informed by Leavins’ eclectic upbringing. Originally from Southeast Texas town of Port Arthur, he grew up listening to Roy Orbison records at his grandparents’ house next door, while his parents played him new-wave bands like The Cars and Tears for Fears and his friends turned him onto Radiohead and The Strokes. At age 13, Leavins took up guitar and began writing songs of his own, quickly discovering his distinct vocal style. “At first I didn’t like the way I sang and couldn’t really do anything about it, but as I got older I started to appreciate it more,” he reveals. “My whole inclination toward music came from being in this small town in Texas with nowhere to go and nothing to do, and wanting to be understood without having to say anything.”

Upon moving to Chicago in 2016, Leavins immersed himself in the local music scene and soon linked up with guitarists Jack Fluegel and Trevor Lynch, bassist Devin Wessels, and drummer Jeremy Benshish, who joined him in co-founding Brigitte Calls Me Baby. As the band built up their catalog, Leavins was tapped to take part in recreating a series of Elvis Presley songs for Baz Luhrmann’s 2022 biopic Elvis, a turn of events that found him crossing paths with Cobb. “Dave and I hit it off right away and started talking about the music we loved, and when we reconnected later he asked me to send him some of the songs I’d been working on,” Leavins recalls. Soon after sharing a batch of demos with Cobb (whose credits include modern classics like Jason Isbell’s Southeastern and Sturgill Simpson’s Metamodern Sounds in Country Music), Brigitte Calls Me Baby headed to Nashville to record their debut body of work at the legendary RCA Studio A.

Co-produced by Cobb and Brigitte Calls Me Baby and mostly recorded live, This House Is Made Of Corners opens on a lush and cinematic track called “The Future is Our Way Out,” a prime introduction to the EP’s heightened yet palpably genuine emotionality. “I want to be earnest even when it’s uncomfortable, and write unapologetically about things like my intense fear of death,” says Leavins. “‘The Future is Our Way Out’ is about that fear, but it’s also about hoping there might be something beyond death, a way out of all the mess and the sadness that plagues us in life.” On “Impressively Average,” pounding rhythms and shimmering guitar tones form the backdrop to what Leavins refers to as a “a bit of a self-loathing song, about trying to cope with someone’s very high expectations of you.” And on “Eddie My Love,” Brigitte Calls Me Baby present a gorgeously aching portrait of obsession and despair. “‘Eddie My Love’ paved the way for all the songs that would come after it,” says Leavins, who first penned the track as a ballad. “It felt so vulnerable from the jump, and made me realize that there’s no point in being anything but vulnerable in what we do.”

Newly signed to ATO Records after a much-buzzed-about set at SXSW 2023, with their full-length debut due out in 2024, Brigitte Calls Me Baby remain intent on striking a balance between refined musicianship and absolute devotion to emotional truth. “In so much music there’s a desire to be perceived as someone who’s got it all figured out, but I never want to paint a picture that isn’t true,” says Leavins. “I know that when I was younger I was looking for something to latch onto that I could connect with and feel a part of, so I’d hope that our music could provide that for others. I want to create something that helps people feel more alive, and that will last long after we’re gone.”

You've Come a Long Way, Baby is the second album by Fatboy Slim. It was first released on 19 October 1998 in the United Kingdom on Skint Record and a day later in the United States by Astralwerks.

You've Come a Long Way, Baby proved to be Cook's global breakthrough album, peaking at number one on the UK Albums Chart and number 34 on the US Billboard 200. Praised by critics for its sound and style, the album brought international attention to Cook, earning him a Brit Award in 1999, and was later certified four times platinum by the BPI and platinum by the RIAA. Four singles were released from the album: "The Rockafeller Skank", "Gangster Trippin", "Praise You", and "Right Here Right Now", all of which peaked within the top ten on the UK Singles Chart. "Build It Up – Tear It Down" was also released as a promotional single.

The album has now been remastered at half speed into the best available audio quality possible. 

TRACK LISTING

SIDE A
1. Right Here Right Now
2. Rockafeller Skank
3. Fucking In Heaven
SIDE B
1. Gangster Trippin
2. Build It Up Tear It Down
3. Kalifornia
SIDE C
1. Soul Surfing
2. You’re Not From Brighton
3. Praise You
SIDE D
1. Love Island
2. Acid 8000

“Sigh Baby” is the debut album by singer, songwriter, and multi-instrumentalist Jeff Moller. The album finds him exploring his background in indie-rock, garage, psych, and country through ten slacker anthems that sound like a fog-pop Tom Petty. Building on his experience as a journeyman musician, the album features contributions from a handful of friends as well as current and former bandmates, including members of Sugar Candy Mountain, Papercuts, Young Moon, Michael James Tapscott, Indianna Hale, and more. Highly anticipated debut album from Jeff Moller. 

TRACK LISTING

1. Sad To See The Sun Go Down
2. Still Intact
3. Broken Hearts (Won’t Stop Beating)
4. Raphi And Me
5. Sigh Baby
6. Mindlessly Strumming Away
7. Sand, Salt Crystals
8. Counting Waves
9. Garden
10. Another Name

Baby is the brand new album from Cosmetics, the Vancouver-based synth wave duo that formed in 2008 but have been rather quiet on the release front in recent times. having teased their return with a superb new pair of singles on 7" recently, now Cititrax/Minimal Wave finally unveil the full album in all its glory. This pair, which is made up of Nic Emm and Aja Emma, fuses artfully crafted synth and wave sounds into something new. It is dark but beautiful, with icy moods and grooves overlaid with the stunning vocals of Emma cutting through in their own alluring manner.

TRACK LISTING

Baby
Pillow Talk
Tell Me
A Chant For U
The Look
Heartbeat
Ask Her
Suede
Dream Sequence
It's True

Manhattan Maurder Mystery jet all the way over from Chicago to hit the shelves with their Steve Albini produced clash of snappy garage rock, jagged punk and melodic rock and roll. 'Messed Up Brain' for instance, has more in common with the early wave of skate-punk like the Descendants or the chugging mutes of Bad Religion, while it's on tracks like 'Greensboro' or the country-leaning 'East Hollywood Livin' that we really see the skill and dedication that has gone to achiving such a carefree, cohesive fusion. A well produced (obviously), nicely written odyssey from the Chicago group. 

TRACK LISTING

1. Artie Lange 01:34
2. Messed Up Brain 03:24
3. I'm Alone And Life Is Tough 03:55
4. Greensboro 05:39
5. Imperial County 06:22
6. East Hollywood Livin' 04:43
7. Bodybag 04:45
8. Me And Brittany 03:48
9. Baby Wrestlemania 05:13

An artist who needs no introduction, Mike Dunn returns to the legendary NYC label Nu Groove with a four-track vinyl release that brings together disparate influences from the master’s encyclopaedic knowledge of genre and style.

What results are productions that are at once timeless, a quality that can only be achieved through the lived experiences of a four-decade career. Title track ‘Git’cha House On, Baby’ is a late 80s freestyle throwback, with hard synth lines running the show, while ‘Don’t Pay Me No Mind’ is a metropolitan anthem led by a solid piano groove.

Additionally, the vinyl features two tracks from Dunn’s ‘Rock Ya Body (Deepa)’; the lead, an effortlessly cool deliverance of pure, unadulterated house, and ‘Let’cha Love Fall Down On Me’ which swells and flows with addictive ease. Elevating all four compositions are the producer’s signature vocals, immediately arresting and suitable for all genres. Dunn’s status as an innovator was earned through creating and influencing the scenes we know and love today, and this new delivery of originals further cements his status as a 100% house master.

STAFF COMMENTS

Matt says: Mike Dunn on Nu Groove! Yessiree! Loving this Nu Groove renaissance. The esteemed Chicagoan injecting the NYC label with some grit and bump in his own unique style - an of course featuring his own inimitable vocals. This is the dog bollox!

TRACK LISTING

A1. Git'cha House On, Baby (MD Main MixX)
A2. Don't Pay Me No Mind
B1. Rock Ya Body (Deepa)
B2. Let'cha Love Fall Down (On Me)

Baby Rose is undeniably a once-in-a-lifetime artist. She burst onto the scene with her 2019 debut project To Myself, which has amassed over 25 million global streams to date and landed her early co-signs by SZA, J. Cole, James Blake, Kehlani, and LeBron James. Later the singer received a Grammy nomination for her contribution to Dreamville’s Revenge of the Dreamers III album and was also featured on albums from Big Krit and Matt Martians.

Through and Through will show Baby Rose like we have never seen or heard her before. Sonically, the album see’s Rose carving out a lane for herself that is unrestricted by genres and showcases her extraordinary range as a skilled singer, songwriter and executive producer. Paired with her once-in-a-lifetime voice, Through and Through will exist like nothing else in music right now. 

First released back in 2014 on Greg Wilson’s Super Weird Substance label, as a limited 12'' vinyl run of 500, ‘Don’t You Worry Baby The Best Is Yet to Come’, has subsequently become a much sought after record with modern soul enthusiasts, copies currently selling at well over £100.

It was soul legend, Colin Curtis, who suggested, at last year’s We Out Here festival, that a 7'' pressing may be timely. Colin’s connection with the track goes back to hallowed Northern soul club, the Blackpool Mecca, in ‘70s, where the Bessie Banks original, never issued in the UK, was a cult-classic.

The Reynolds are Merseyside twins, Carmel and Katherine Reynolds, who worked with Greg across various projects on the label. Katherine takes the lead on this track, and handles it like a veteran, her vocal elegantly gliding the groove – Greg working in collaboration with Wolverhampton DJ/musician Peza, who programmed and co-mixed the track.

TRACK LISTING

A1. Part 1
B1. Part 2

Prima Queen's highly anticipated debut EP 'Not The Baby', demonstrates this band's remarkable ability to straddle genres and embrace heartfelt topics, starting with lead single Back Row, a soaring, horns-led pop song about the heartbreak of breaking someone else's heart.

TRACK LISTING

1. Back Row
2. Crow
3. Dylan
4. Hydroplane

Extended edit of Letherette's Woop Baby which has gained virality on Instagram and Tik Tok as well as extensive syncs with the original version gaining a huge amount of attention. 

TRACK LISTING

1. Woop Baby (Extended Version)
2. Mash

Two more classic tunes from the Deptford Northern Soul Club Records dancefloor. Remastered for maximum effect.

Shawn Robinson’s ‘My Dear Heart’ was originally released on Minit in 1966. Original copies go for around £250 plus. Filled with positively glowing soul sounds underpinned by gorgeous vibes and a heady beat. Big at Wigan back in the day, a favourite of Richard Searling.

The flipside, from 1967, is from the inimitable Bessie Banks, the hit maker of ‘Go Now’ fame. Originally released on the Verve imprint. Fired up by choppy guitar and a heavy cross mix of vibes and horns, it’s a chugger with some essential breaks for added impact.

A triumphant anthem. 

TRACK LISTING

1. Shawn Robinson - ‘My Dear Heart’
2. Bessie Banks - 'I Can’t Make It (Without You Baby)'

Limited edition red vinyl reissue with DL card of the agit pop four-piece’s second album, Baby U Know. A heady collision of Raincoats-esque indie and ESG-paced rhythms fed through a kaleidoscopic pagan folk filter. The follow up to their critically acclaimed 2018 debut Yes I Jan, this release is a wordy slice of state-of-the-art social commentary wrapped in a perfectly-balanced soundscape that veers from funky minimalism to baroque dream pop.

With a hint of Ari Up styled vocals backed by a harmonious chorus of concern touching on everything from incantations, essential causes and systematic shopping, all underpinned by a raking violin and bewitching electronic hum.

TRACK LISTING

Side A
A1 Progressive Causes
A2 Sex Cult
A3 All Forgotten
A4 My Incantations, Herbs & Art Have Abandoned Me
A5 Vision Of Change
Side B
B1 Shopping In A New City
B2 You Have Bewitched Me
B3 Baby You Know
B4 Too Good To Be True
B5 Profile Picture – OTO Version

In a definitive and "excellent homage to a star who left this planet too soon" (Questlove), the life, career, tragic death, and evolution of Aaliyah into a music legend are explored-now updated with new material featuring in-depth research and exclusive interviews. By twenty-two years old, Aaliyah had already accomplished a staggering amount: hit records, acclaimed acting roles, and fame that was just about to cross over into superstardom. Like her song, she was already "more than a woman" but her shocking death in a plane crash prevented her from fully growing into one.

Now, two decades later, the full story of Aaliyah's life and cultural impact is finally and lovingly revealed. Baby Girl features never-before-told stories, including studio anecdotes, personal tales, and eyewitness accounts on the events leading up to her untimely passing. Her enduring influence on today's artists-such as Rihanna, Drake, Normani, and many more-is also celebrated, providing Aaliyah's discography a cultural critique that is long overdue.

"There's no better way to pay your respect to R&B's true angel than to lose yourself in the pages" (Kim Osorio, journalist and author of Straight from the Source) of this "dazzling biography" (Publishers Weekly) that is as unforgettable as its subject. This book was written without the participation of Aaliyah's family/estate.

Marrying psychedelic pop with folk and a touch of country, 'Earthling On The Road To Self Love' is the sublime debut album by Brisbane, Australia-based artist Baby Cool – the latest side project by Nice Biscuit co-front woman Grace Cuell.

Cuell says of the record, which follows her debut single 'Magic' and tours with Babe Rainbow and The Lazy Eyes: “The songs on this album are deeply sentimental. I have a lot I need to sing about to help me make sense of this earthly pod I have been gifted. If in singing these words out loud, I can help others find solace in knowing that we’re all out here flailing about in the cosmos, then it feels good to me.”

Recorded with Sam Joseph (Family Jordan), the songs on 'Earthling' were brought to life with the help of Jess Ferronato (Nice Biscuit), Nick Cavendish (Nice Biscuit) and Drew Heyden (The Flamingo Jones): "I had such a beautiful community of friends that helped bring this whole thing to life. There was magic and love in every part of the process of creating this album.”

STAFF COMMENTS

Barry says: Grace Cuell's new album perfectly mixes the hazy saturated sounds of 60's psych-folk and jangling indie-rock seamlessly and without missing a beat. There are moments of stripped-back beauty here but also a keen ear for the just-in-time layered soundbath of Barrett era Floyd or Jefferson Airplane.

TRACK LISTING

Side A
1) The Sea
2) Mother Luna
3) Altar
4) For Us
Side B
5) Poison
6) Country Song
7) Interlude
8) Magic
9) Daydream

Dinked Edition Flexi-Disc
1) Daydream (Stripped-Back)

“I wanna wake up brand new” Enumclaw lead-singer / guitarist Aramis Johnson sings to begin Save the Baby, their massive-sounding debut full-length, out via Luminelle Recordings. The album is a swing for greatness; a collection of life-affirming and deeply personal songs about the importance of chasing after your dreams. Enumclaw is Aramis, guitarist Nathan Cornell, drummer Ladaniel Gipson, bassist (and Aramis’ younger brother) Eli Edwards. Working alongside producer Gabe Wax (Soccer Mommy, Crumb, Fleet Foxes), Enumclaw's Save the Baby delivers an album where on each track the band plays with dynamics while taking their songwriting to the stratosphere.

Save the Baby is an album about stepping into your purpose, about the determination it takes to not give up on yourself in the midst of heartbreak and setbacks. It’s not a stretch to imagine a younger version of the band getting a glimpse of the future and freaking out by knowing their destiny of making it as a rock star has landed on their doorstep. For fans of all things J Mascis / Dinosaur Jr, Built to Spill and all things 90's Pacific Northwest.

TRACK LISTING

1. Save The Baby
2. 2002
3. Park Lodge
4. Blue Iris
5. Paranoid
6. Somewhere
7. Cowboy Bepop
8. Can't Have It
9. Jimmy Neutron
10. 10th And J 2
11. Apartment

2004 saw the release of Monster Magnet’s sixth studio album Monolithic Baby, the follow-up to 2000’s “God Says No”, which cemented the Red Bank, NJ rockers in the world of space rock and roll. This 14-track journey of masterful hard rock features 11 ripping originals and three cover songs recorded in true classic Magnet style, including covers of The Velvet Underground, David Gilmour and Robert Calvert. Monolithic Baby is being reissued on August 19th via Napalm Records on orange vinyl with white and black splatter, as well as in a limited glow in the dark vinyl variant! Don’t miss the album Ultimate Classic Rock calls “a revitalized, fire-breathing Monster Magnet” and All Music calls “another collection of undeniably Wyndorfian tunes.”

TRACK LISTING

1. Slut Machine
2. Supercruel
3. On The Verge
4. Unbroken (Hotel Baby)
5. Radiation Day
6. Monolithic
7. The Right Stuff
8. There's No Way Out Of Here
9. Master Of Light
10. Too Bad
11. Ultimate Everything
12. CNN War Theme

Last year, Nice Swan Records started the monthly ‘Nice Swan Introduces…’ series, shining a light on the most exciting emerging talent. Following releases with the likes of Sports Team, Pip Blom, FEET & FUR, the Series introduced a whole wave of new and exciting talent including Courting, Sprints, Malady, English Teacher & Opus Kink, which cemented the label as one of the country’s most exciting independent record labels for discovering the hottest new talent. Volume two of the series ha already unearthed Prima Queen, Deadletter and Saloon Dion and next up are Brighton’s Shady Baby.

It is with impeccable timing that the week after Brighton’s Great Escape Festival, the UK’s most famous multi venue event showcasing the best new music – Nice Swan Records, today, have announced their latest signing, Shady Baby – one of Brighton’s own! Shady Baby is the musical project of Brighton based Sam Leaver. Inspired by the sounds of Madchester & Britpop, and with a love for John Cooper Clarke, Leaver began making his own brand of angst ridden pop during the height of lockdown where songs were formed out of frustration whilst locked in his bedroom.

Having approached Brighton based producer Theo Verney (English Teacher, FEET, FUR, Egyptian Blue, TRAAMS etc) with his early demos, the two instantly formed a musical bond that has seen them work closely together in the studio ever since and Verney has helped hone the exciting sound of the debut tracks of Shady Baby.

Speaking on the track, Leaver said:

“‘Come To Life’ is an angry response to feeling like people treated you like shit but you let them get away with it. Feeling both angry at them but also at yourself for letting it happen.”

Leaver then enlisted the support of old childhood friend Laurie Debnam, on guitar after bumping into him at a house party in Brighton having not seen each other in a decade. Nick Varnava (Bass) and Tom Jackson (Drums) complete the line-up, having joined from other bands on the scene in the legendary musical city.

The debut album from 19-year-old artist Sofia Mills, Baby Magic intimately details the most pivotal moments in her coming-of-age experience: breakups with toxic boyfriends, coming out as queer at age 16, a longtime struggle with mental illness.

As shown on her breakthrough single "Coffee Breath" (a self-produced track that's amassed over 100 million streams on Spotify to date), the Massachusetts-born singer/songwriter/multi-instrumentalist imbues her storytelling with both startling clarity and profound sensitivity, an element echoed in her warmly textured brand of indie-pop.

Written entirely by Mills and co-produced with John Mark Nelson (Taylor Swift, Allison Ponthier), Baby Magic arrives as a complex and captivating body of work, built on a potent tension between her dreamy romanticism and intense self-awareness.

TRACK LISTING

1. DREAMGIRL
2. Won’t You
3. Drunk / Tired
4. Life Of The Party
5. Baby Magic
6. Wish I Would
7. Bite
8. Sleepover
9. White Lilies

Baby? are Erin Allen (Violence Creeps, High Castle) and Max Nordile (Preening, Violence Creeps, Uzi Rash).

This collaboration sprang from a singular epic recording session. “Even though we hang 11 times weekly, shouldn’t we remotely pile on overdubs ad infinitum for havoc injection?” Did they really say that? Did they really do all this on purpose?

For fans of Wild Man Fischer, Minutemen, Electric Miles, Contortions, The Fugs, Preening.

Punked-up no-wave improv skronk to get you going all night.

Includes poster insert.

TRACK LISTING

Number One In Hell
Clocklords
But I Don't Believe You
Labor Board
Radical Document
Babbling Brook
Log Me Out
Old Skin
Fall On The Floor
Ice Cream Sandwich

HAAi's debut full-length album is her most collaborative, energetic and vibrant collection to date. Baby, We're Ascending, a 13-track sonic adventure that takes you along for the ride – from hardcore, echoey beats to sweeping, colourful synth lines and bright, warped vocal samples. The voices on the album are vast and eclectic – from Jon Hopkins and Hot Chip's Alexis Taylor to singer Obi Franky and spoken word poet and activist Kai-Isaiah Jamal.

The album follows the release of ‘Lights Out’, her collaboration with Grammy-nominated producer Fred Again.. and Romy of The xx, and is supported by a series of worldwide shows.

TRACK LISTING

1 Channels
2 Pigeon Barron
3 Bodies Of Water
4 Human Sound Feat. Kai-Isaiah Jamal And Obi Franky
5 Louder Always Better
6 Biggest Mood Ever Feat. Alexis Taylor
7 AM
8 FM
9 I’ve Been Thinking A Lot Lately
10 Purple Jelly Disc Feat. Obi Franky
11 Baby, We’re Ascending
12 Orca
13 Tardigrade

One of America's finest guitarists, Gordon Banks is most well known as Marvin Gaye's tour bass player in the 70s and co-writer in the 80s (as well as becoming his brother-in-law). He has also played with New Birth, Edwin Hawkins & Gladys Knight & The Pips. Norfolk and Midnight love were Gordon's post Marvin (Passed in 84) local bands, these two tracks were recorded between 86-88. You can hear Gordon's writing skills coming through with a far more late 80s pop vibe, like late Marvin joints, which I love.

Personally it's an honour to work with such a huge talent, Gordon's bass playing on 'Life is For Learning' still give me goosebumps every time.

STAFF COMMENTS

Millie says: Disco heaven with Norfolk & Midnight Love seven, loved up soulful happiness pressed on wax right here for your listening pleasure. A welcomed reissue of these two tracks, more where that came from please

TRACK LISTING

1. You Are My Doll Baby
2. Mamas Baby Boy

Two brass-powered monster tracks from Deptford Northern Soul Club Records.

Irene And The Scotts’ 1967 smash goes for around £150 a copy these days. A Detroit soul side arranged by the legendary Dennis Coffey, produced by Motown man Bob Babbitt, co-written by Ray Monette (later a member of Motown act Rare Earth) and featuring the mysterious Irene’s punchy torch vocal backed by Chicago soul band The Scott Brothers. Rife with brass stabs and a glorious sax break - an absolute floor filling gem.

Backed with The Chantels’ ‘Indian Giver’ from 1966, which first appeared on the Verve label (a copy of which would now fetch around £275 a throw). A super-rare soul side from the Bronxbased all-girl doo wop pop outfit who found the funk in the mid ‘60s. Delivered over a hypnotic backbeat, ‘Indian Giver’ is a horn-laden uptempo groove with a drummer on double-time. An absolute handclapping, split-inducing dance classic.

TRACK LISTING

Irene And The Scotts - I’m Stuck On My Baby
The Chantels - Indian Giver

Originally released on the Ovide label from Houston, Texas in 1970 and currently going for around £175, if you can find a copy.

Get Your Point Over is a brass-led funky dancer that beautifully compliments Sebastian Williams’ soulful vocal style, while the flipside, I Don't Care What Mama Said (Baby I Need You), is a slower groove that lets that vocal really soar, arriving complete with a groovy psychedelic guitar break before Williams testifies to his lady amid some punchy brass stabs.

Two stellar tunes from Sebastian Williams (aka Roger Williams of no-hit wonders The Quarter Notes), whose solo recording career amounted to just three 45s, all five years apart, along with a couple of releases as Sebastian And The House Rockers and finally, in 1975, just Sebastian.

Imagine vintage Tavares lead singer Chubby Tavares at his gritty best with a funky brass section in a soulful Harold Melvin And The Blue Notes- styled blast. Both tracks mastered from the original sound source for maximum soul sound

TRACK LISTING

1. Get Your Point Over
2. I Don’t Care What Mama Said (Baby I Need You)

Brenda Holloway was born in California, 26th June 1946, and while still a teenager she signed to Motown’s ‘Tamla’ label in 1963. Her first single for the label – “Every Little Bit Hurts” – was a huge hit reaching #13 on the Hot 100. However, her recording career for Motown was modest for such talent and her final single came in 1967, the Top 40 hit “You’ve Made Me So Very Happy” which she co-wrote with her younger sister Patrice Holloway (see SEV005). The song would later reach #2 when it was covered by Blood Sweat & Tears. In more recent times many of Brenda’s previously unreleased Motown recordings have come to light and have proved to be amongst the finest of the labels recorded output. Here we present two stunning performances, “My Baby Moves Me” penned by Smokey Robinson and the infectious “Spellbound” written Billy Page and recorded circa 1966.

TRACK LISTING

1. Spellbound
2. My Baby Moves Me

Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall’s grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It’s in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair—both expertly bringing scale, subtlety and intangible ascendence to this recording. 

Coney Island Baby is the sixth solo studio album by Lou Reed, released December 1975 in the US, and in January 1976 in the UK, by RCA Records. The album has been described as "perhaps the most romantic album of Reed's career". Many of the album's songs were inspired by and dedicated to Reed's girlfriend and muse at the time, a trans woman named Rachel Humphreys but Coney Island Baby is "as much a love letter to Rachel as it was to the nostalgic Coney Island of the mind." 

The songs mark Anohni’s first new music since the 2019 charity single ‘Karma’, a collaboration with Jade Bell and J. Ralph.

A viscous embrace, a pulsating pouring out, Anohni’s voice is above all else a vessel for political armament. On 2016’s Hopelessness, her voice bombarded with explicit illustration of Obama-era atrocities -- of war crimes, of apocalyptic climate change, of patriarchal violence. Now sharing a dual cover set, she casts a subtler, but no less powerful incantation towards change.

The original tracks dating to 1965, a year marked by the Selma marches, the Watts Rebellion, and the landmark Voting Rights Act, illuminate the eerily parallel struggles of this year. Anohni’s rendition of ‘It’s All Over Now…’ reads as a hopeful, future goodbye to times dominated by oppression. With ‘Be My Husband,” textually woven with marital submission and want for acceptance, she examines our reliance on the very systems that fail us.

In borrowing these songs, Anohni adopts their history along with her contemporary interpretations, respecting the lineage of the people’s movement while calling for its continuance today. “When Biden said ‘Americans don’t want revolution, they want a return to decency,’ he was wrong,” she explained. “We all know deep down that the continuation of our civilizations for much longer will require seismic change.”

TRACK LISTING

1. It’s All Over Now, Baby Blue
2. Be My Husband

Two rare and mystery-shrouded party-in-the-house sides from 1976. Willi J Coe’s Cleethorpes anthem ‘Boogie With Your Baby’ was a no-hit wonder that goes for around £100 if you can find a copy on the original shortlived Ki Ki label.
Produced by Willie J Key and arranged by Bob Holmes (Joe Tex / Freddie North / Slim Harpo) it’s a slice of funky party disco. A proper floorshaker. V Rare Function’s ‘Disco Function’ was originally on Soul Unlimited in 1976 and fetches around £50 a copy these days.
Sampled by Luke Vibert in more recent times, it’s a brass-stabbed party anthem with a nod to Kool And The Gang when they were funky.

TRACK LISTING

Willi J & Co. - Boogie With Your Baby
Rare Function - Disco Function

Jorge Ben can do it all - vocalist, songwriter, musician, producer and to many their ‘all-round’ favourite Brazilian artist. Jorge has had an amazing career, involved in music from the early 60s through to the current day, writing countless classic songs for him and other artists. This awesome samba-disco-funk joint ‘Waimea 55.000’’ is a lesser-known production, taken off a 7” B-side released on Som Livre in 1978. This is a gem which needed to be dusted off and given the wider audience it deserves.

Baby Consuelo with her distinctive voice is one of Mr Bongo’s favourite Brazilian singers. The only female founding member of the mythical group Os Novos Baianos, Baby is a real innovator and pioneer, changing her persona and musical styles over the years, but still staying unique. Here we have Baby at the start in raw psychedelic hippy mode, giving a powerful vocal delivery where she manages to sound simultaneously badass and lovable. This early song was released in 1970 on RGE records on a compacto 7” credited to Baby Consuelo and additionally featured on Os Novos Bahianos’s debut album ‘ Ferro Na Boneca!’ in the same year (re-issued on Mr Bongo in 2019).

TRACK LISTING

Jorge Ben - Waimea 55.000
Baby Consuelo - Curto De Veu E Grinalda

This is the debut 7” single from DJs Deptford Northern Soul Club featuring two classic floor fillers from mid-60s Detroit. It includes the late Detroit soulman Lester Tipton’s one and only release ‘This Won’t Change’ from 1966, original copies of which go for a staggering $5000. Plus, from 1967, Edward Hamilton and the Arabians’ superb ‘Baby Don’t You Weep’ which the one-time member of The Falcons recorded for Lou Beatty’s Mary Jane label, originals of which go for a paltry £250.

TRACK LISTING

Lester Tipton - This Won’t Change
Edward Hamilton And The Arabians - Baby Don’t You Weep

Stanley Mitchell was born in Detroit in 1935 and performed with a number of local bands in the mid to late fifties cutting wax for Chess and Gone records. But it is thanks to Richard “Popcorn” Wylie that his presence was ever felt on these shores when, in 1973, his atmospheric “Get It Baby” was championed in the early days of Wigan Casino by DJ Richard Searling. The song was originally relegated to the B-side of the altogether more catchy “Quit Twistin’ My Arm’, arguably the more popular side today. In the late seventies another track emerged from Detroit, “Down In The Dumps” by Tony Hester, which shared the same backing track as “Get It Baby” which further cemented the record in the annals of Northern Soul history.

TRACK LISTING

1. Quit Twistin' My Arm
2. Get It Baby

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

“THE BAND THAT WILL ALWAYS SOUND LIKE THE FUTURE” - Dangerous Minds. The classic Suicide ‘Dream Baby Dream’ single (originally released 1979) is re-issued exclusively for Record Store Day 2019. Released on 12”

Candy & The Kisses burst onto the Northern Soul scene with "The 81". This storming dancer was unreleased until released on a CD compilation, making this a first time 7" vinyl release. The B side is by Val Simpson, one half of Valerie & Simpson

TRACK LISTING

Side 1: Are You Trying To Get Rid Of Me Baby - Candy & The Kisses
Side 2: Mr. Creator - Val Simpson

Jerry Paper is the creative persona of LA-based multi-instrumentalist, songwriter and producer Lucas Nathan.

‘Like A Baby’ is his first album for Stones Throw, following releases on boutique labels Bayonet and Orange Milk.

Album co-produced by Matty Tavares of BadBadNotGood; features Weyes Blood and Alex Brettin of Mild High Club.

For fans of Homeshake, Mac DeMarco, Connan Mockasin, Mild High Club.

TRACK LISTING

Your Cocoon
Grey Area
A Moment
Something’s Not Right
Did I Buy It?
Commercial Break
My God
Baby
Everything Borrowed
Huge Laughs
You
Losing The Game
More Bad News

Early chronicles have long enveloped mulberry trees in legend. Some say they're the link between heaven and earth. Others say the red berries are stained from the blood of star-crossed lovers. For over 5,000 years, medicine has been made from their leaves, with some cultures claiming them to be a miracle remedy or even the key to eternal life. Although many stories and attributes surround the mulberry tree, they are known most for one reigning characteristic ::: wisdom. Mulberries wait until the danger of frost is completely gone before they begin to bud, at which point the budding occurs overnight. They are patient. They are restrained. They are calculated. They are everything we're not.

We are tornadoes, sweeping the fields - mutable and unsettled. Storms of impulse; units of destruction. Often our instincts are misguided / lashing out rather than soaking in silence, tuning in to the whispers. Violence is king, and we are its servants ::: eager to please, trained in frenzy, and knowing little else. Since infancy, we've grown used to hearing words far opposite the examples we've been shown. We've been told to douse fires, but we've been handed a torch. Should it be a surprise that the world is burning?

Mulberry Violence is the intersection of these two dimensions. It is where stillness meets pandemonium. Dead air meets babel. Harmony meets war. Sisters from the same womb, separated at birth. It serves as a personal document of the everlasting battle inside of us. No one has it figured out; least of all me. 

TRACK LISTING

1. XXXXXX
2. X
3. XXXXXXX
4. XX
5. XXX
6. Ache
7. XXXX
8. Plaster Saint
9. XXXXXXXXXX
10. Playwright

One of Fatboy Slim's crowning glories, "You've Come A Long Way Baby" saw the Brighton luminary take the big beat grenade and detonate it overground, taking the sound to the clubs, beaches, adverts and coffee tables of Great Britain and beyond. If you were conscious in 1998 it was impossible to ignore this album, with companies queuing up to align themselves with the coolest new trend in club land. Fatboy himself used the platform to elevate his Big Beach Boutique brand - two phenomenal parties on Brighton beach (the first seeing 65K revellers, the second - 250K!!); the likes of which sadly, I doubt, we will ever see again. I can personally remember exactly where I was the first time I heard "Rockafella Skank" and to me this is up there with "Dig Your Own Hole", "Music For The Jilted Generation" and "Homework" as one of the most iconic dance music albums of the nineties. I wasn't old enough to hear the tracks in the club, but its cultural impact travelled up and down the generational ladder from everyone at high school to people's Mum's cleaning the kitchen.

A celebratory 20th anniversary reissue as part of BMG’s ‘Art of The Album’ series showcasing seminal albums that broke new ground in concept, production, song writing, and genre, leaving a lasting legacy as a complete album work of art. Deluxe edition CD and LP format packaging including 180g gatefold vinyl, 6 page 12” roll-fold booklet (LP), 12” display art card (LP) and 28 page booklet (CD).

Exclusive anniversary sleeve notes from Ralph Moore (Editor at Large, Mixmag) and album timeline from Damian Harris (Skint Records).
Number one on the UK albums chart, number one in New Zealand, number two in Australia and number thirty-four on the US Billboard 200 containing four top ten singles. These tell a beautifully story much better than I can hear and really give creedence to this golden age of dance music that Norman was spearheading.

Ranked number 81 in Q magazine's readers' poll of the "100 Greatest British Albums Ever".

Brit Awards: Best Dance Act 1999, 2001. Brit Awards: British Single 1999 (nominee), Male Solo Artist 1999 (nominee).

STAFF COMMENTS

Matt says: Makin' me all teary eyed comes this 20th anniversary of THAT, seminal, big beat opus. The one that broke the sound overground, if you don't end up watching youtube videos of Brighton Beach I'll eat me slipmats...

TRACK LISTING

Right Here, Right Now 6:28
The Rockafeller Skank 6:54
Fucking In Heaven 3:55
Gangster Tripping 5:20
Build It Up - Tear It Down 5:05
Kalifornia 5:53
Soul Surfing 4:57
You're Not From Brighton 5:21
Praise You 5:24
Love Island 5:18
Acid 8000 7:28

The next collaborative release between Freeride Millenium and Pauls Musique is a terrific two-tracker from Manchester artist Joseph Louis Harland of Menage A Trois / Dream Lovers fame, and sees a duo of dreamlike synth excursions, beautifuly delivered through a hazy filter of irradiated saturation. 

On the A-Side we get 'L'Amour', kicking things off with a digital choir sound, shorly joined by a parallel but suboctaved string pull, both working together to create a dreamlike backdrop for the whimsical guitar melody that takes things from a charming background ambeince through the realms of dreampop into euphoric eye-closing bliss. Warmly reassuring through it's unabashed use of tried-and-tested melodic refrains, but cleverly tipped on it's head with the percussive and vocal elements falling behind the amplitudinal intensity of the 'background' elements, skilfully increased to seratonin-spouting levels, it's a heady and intoxicating juxtaposition. 

On the flipside we see the seratonin burst of the former piece rounding out into a slowly progressing synthetic bubblebath, keeping the choirs at work but tapering their contribution into a warm sea of glimmering LFO'd pads and warm, Roland chorus. 

STAFF COMMENTS

Barry says: A beautifully retrospective, but unflinchingly modern take on synth ambient, mixing elements of Emeralds (more specifically Mark McGuire / Steve Hauschildt's solo work) with the juvenile optimism of IDIB (Johnny Jewel / Chromatics) without ever sounding like a tribute. These are intelligent, beautifully written odes to years gone past,with a forward-facing melodic ideal, and a keen ear for a tune. Lovely.

TRACK LISTING

A. L´amour
B. I Wanna Go To Heaven 

Feral Child, the on-off label that brought you vinyl only releases from Snails, Pete Astor, The New Lines and The Orange Alabaster Mushroom, returns with not one but two totally ace LUNA 45s, due for simultaneous release mid to late October 2017.

Both containing covers, the first acts as a companion piece to the great “A Sentimental Education” LP, with the Orbison / Petty / Lynne penned A side; “California Blue” (from Roy Orbison’s hugely underrated 1989 “Mystery Girl” LP). A key, if cautionary, comment from Dean Wareham himself on this one: “It’s not possible to duplicate the great Roy Orbison; we decided to go away from the Jeff Lynne pop style of the original and try it more in the vein of Pavement’s “Range Life.””

The flip features the bands’ cover of “Rock Yr Baby”; “"George McCrae’s disco classic is an important single. Written by Casey/Finch (of KC & the Sunshine band), it is one of the first disco hits to feature a drum machine. It has been in our live set for a while at the stroke of midnight but only if we are playing a show on New Year’s Eve.” (DW)
This first single is released in an edition of 500 only.

Baby In Vain are a three-piece from Copenhagen, Denmark. Think Queens Of The Stone Age, Black Rebel Motorcycle Club and Sonic Youth. Their debut album, ‘More Nothing’, was produced by Rob Ellis (PJ Harvey, Torres, Bat For Lashes).

The band have previously toured with The Kills, Thurston Moore, Ty Segall, Jesus and Mary Chain.

Partisan Records released the ‘For The Kids’ EP in April 2016 and it went to #1 in the Denmark vinyl charts.

“Denmark’s Baby in Vain are giving guitar music a snarling shot of adrenaline” -NME

“A band whose sheer unrelenting attack can leave you breathless” - Clash

“Songs that thrum with fearlessness and great confidence” - The Guardian

“A visceral combination of Sleater Kinney, Babes In Toyland, and Queens Of The Stone Age with boss-ass results” - Noisey

“The Danish trio don’t fuck around.” - DIY

TRACK LISTING

K.
Each Time You Fall In Love
Sunsetz
Apocalypse
Flash
Sweet
Opera House
Truly
John Wayne
Young & Dumb

Danger Mouse, releases the soundtrack for Edgar Wright’s highly anticipated film, Baby Driver, on his Columbia Records imprint 30th Century Records.

Written and directed by Edgar Wright, Baby Driver tells the story of Baby, a talented, young getaway driver (Ansel Elgort) who relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.

TRACK LISTING

1. Bellbottoms - Jon Spencer Blues Explosion
2. Harlem Shuffle - Bob & Earl
3. Egyptian Reggae - Jonathan Richman & The Modern Lovers
4. Smokey Joe’s La La - Googie Rene
5. Let’s Go Away For Awhile - The Beach Boys
6. B-A-B-Y - Carla Thomas
7. Kashmere - Kashmere Stage Band
8. Unsquare Dance - Dave Brubeck
9. Neat Neat Neat - The Damned
10. Easy (Single Version) - The Commodores
11. Debora - T. Rex
12. Debra - Beck
13. Bongolia - Incredible Bongo Band
14. Baby Let Me Take You (in My Arms) - The Detroit Emeralds
15. Early In The Morning - Alexis Korner
16. The Edge - David McCallum
17. Nowhere To Run - Martha Reeves & The Vandellas
18. Tequila - The Button Down Brass
19. When Something Is Wrong With My Baby - Sam & Dave
20. Every Little Bit Hurts - Brenda Holloway
21. Intermission - Blur
22. Hocus Pocus (Original Single Version) - Focus
23. Radar Love (1973 Single Edit) - Golden Earring
24. Never, Never Gone Give Ya Up - Barry White
25. Know How - Young MC
26. Brighton Rock - Queen
27. Easy - Sky Ferreira
28. Baby Driver - Simon & Garfunkel
29. Was He Slow (Credit Roll Version) - Kid Koala

Beach Baby will release their much-anticipated debut album, 'No Mind No Money', on September 2nd. The band will be supporting Beaty Heart around the US in September, before playing their own series of headline dates across Europe Additional festival slots are still to come at Reading & Leeds and Festival Number 6, with across-the-board support at Radio 1, 6Music, Radio X and Spotify. Captured vividly across ‘No Mind No Money’, London four-piece Beach Baby have built up a tightly-sealed, vaguely surreal world of their own. Beach Baby’s touchstones have now evolved to include seminal acts on both sides of the Atlantic –from Parquet Courts and Mac DeMarco to Ariel Pink and cult lo-fi artist Cleaners From Venus. They each supported themselves throughout this creatively-intense period with make-ends-meet jobs, which included working in burger joints, ‘charity muggers', and - in perhaps the oddest of odd jobs - working as a script reader for production companies like Icon.

The aptly-titled ‘No Mind No Money’ touches frequently on those less-glamorous uncertainties of post-campus life: apathy, escapism, and the distance between your own future and the iconic bands or movies you grew up on. “One of the best new bands in Britain” Sunday Times Breaking Act. “Make no mistake, Beach Baby have every means of triumphing in the big leagues” DIY. “Captures the best of several genres – post-punk, baggy, shoe gaze, grunge –without sounding like a mess” Guardian. “That aching, inexplicable magic of college innocence is all here” Stereogum. “You’ll fall for this London foursome” i-D

Housed in a clambox featuring a lavishly illustrated and annotated 36-page booklet. Although vintage British psychedelia is viewed by many these days as an Alice In Wonderland-style enchanted garden full of beatific flower children innocently gathering flowers or chasing butterflies, there was always a more visceral element to the scene. Pointedly free of such fripperies as scarlet tunic-wearing gnomes, phenomenal cats and talismanic bicycles, the power trio format that was popularised by the likes of Cream and the Jimi Hendrix Experience spawned a host of imitators.

Across three discs and four hours of music, I’m A Freak, Baby investigates that largely under-documented period, incorporating everything from some of the biggest names in the burgeoning hard rock/proto-metal firmament all the way down to a significant number of provincial semi-pro bands who gigged extensively but were unable to land a recording contract during their lifetime.

We feature some of British rock’s pioneering acts (The Yardbirds, The Move), a handful of bands who travelled far beyond their blues boom roots (Fleetwood Mac, Chicken Shack, The Groundhogs), the infamous Ladbroke Grove scene (The Deviants, The Pink Fairies, Hawkwind, The Edgar Broughton Band), a smattering of inspired, where-the-hell-did-that-come-from one-shots like The Velvet Frogs and the mighty Egor, and a clutch of previously-unreleased recordings (The Kult, Hellmet, The Phoenix). 

‘Three Men And A Baby’ is the new album by Mike (Kunka, bassist / vocalist of godheadSilo) and The Melvins.

In 1998, Mike and his friends The Melvins - who at that time were King Buzzo (guitar / bass / vocals), Dale Crover (drums / vocals) and Kevin Rutmanis (bass / vocals) - started making a record at Tim (The Champs) Green’s Louder Studios. Complications occurred and the incomplete recording sat until 2015, when everyone reconvened and finished the damn thing at Sound Of Sirens in LA with Toshi Kasai.

The results are worth the wait. Mike’s signature bass crunch and vocals are all over it and The Melvins are in fine form. The album has everything from hefty noise rock churn to a Public Image Ltd. song to cough syrup blues to deconstructed black metal.

TRACK LISTING

Chicken ‘n’ Dump
Limited Teeth
Bummer Conversation
Annalisa
A Dead Pile Of Worthless Junk
Read The Label (It’s Chili)
Dead Canaries
Pound The Giants
A Friend In Need Is A Friend You Don’t Need
Lifestyle Hammer
Gravel
Art School Fight Song

White Hinterland (aka Casey Dienel) returns with her most confident and assured album yet.

A deep, dark heady mix of songs, Dienel set forth to subvert the existing power structure of male producer as Svengali and female artist as figurehead.

For ‘Baby’ Dienel worked with friends and acclaimed musicians Sean Carey (Bon Iver), Neal Morgan (Joanna Newsome, Bill Callahan) and Cole Kamen-Green (Beyonce).

Her life-long love of R&B and gospel comes to the fore, complementing and contrasting the sharp dynamic shifts, booming drums and blasts of brass.

Already getting a very strong response at radio and with lots of great reviews lined up, this is sure to be White Hinterland’s moment to shine.

Who needs the summer when the next three Outta Sight R&B collectables are as hot as these?

The Northern end of R&B continues to pack the dancefloors across Europe and it is showcased - at its best - in these in-demand cuts. Six top tunes that would set you back a month’s wages if you’re lucky! All hard to find on their respective original labels which, incredibly, date from as early as 1952.

On side A Little Arthur Mathews hooks up with the Johnny Otis Band for the horn honking skiffle-like cut "’m Gonna Whale On You". On the flip Willie Wright belts it out on rhythm & blues roller "I’m Gonna Leave You Baby, And I’m Goin’ Away To Stay".

TRACK LISTING

1. I’m Gonna Whale On You - Little Arthur Mathews With The Johnny Otis Band
2. I’m Gonna Leave You Baby, And I’m Goin’ Away To Stay - Willie Wright

This is a reissue of the decade-plus out of print only single off the White Stripes self-titled debut album. The A-side is Jack White's tempered screed against the monopoly of American auto companies against the accented thud of Meg's pounding drums. The B-side "Red Bowling Ball Ruth" is exclusive to this single and overflows with AC/DC-inspired rock riffs. Re-mastered direct from the original analog masters!

One of entertainment’s most flamboyant musical artistes of the last decade, Baby Dee is back with a new album, "Regifted Light", on Drag City Records.

The album is not merely charming, nor simply enchanting and / or deeply touching - it is also an unusually arrayed album, scattering four vocal performances among eight smartly arranged, classically focused instrumentals, creating quintessential Baby Dee in all her unconventional glory.

"Regifted Light" was produced by the amazing Andrew WK. The arresting cover is the distinctive work of the acclaimed Dutch artist Christina De Vos.

Baby Dee’s musical career has seen her perform worldwide with musical connoisseurs such as Will Oldham (who co-produced ‘Safe Inside The Day’ with Matt Sweeney), Antony Hegarty, Marc Almond, Alex Neilson and David Tibet.

Nat Johnson is the former singer, songwriter and guitarist of Monkey Swallows the Universe - a Sheffield based five piece band who released two critically acclaimed albums earlier in the decade, toured the UK with Richard Hawley, the Long Blondes and Camera Obscura, were profiled in The Sun and the Guardian, played a host of festivals and performed live sessions for the likes of XFM, 6music and Radio 4's Loose Ends. Since the band split in 2008 Nat has embarked on what has so far proved to be a very fruitful solo career with her single for Thee Sheffield Phonographic Corporation "Dirty Rotten Soul" which is on the album and made Single of the Week by Steve Lamacq on 6 Music. Now with her debut album all recorded Nat has assembled a new backing band The Figureheads (featuring MSTU co-founder Kevin Gori, Chris Loftus of Fury of the Headteachers and Neil Piper of Champion Kickboxer) for a series of gigs throughout the Summer and Autumn - all leading up to the release of debut album "Roman Radio" on the 19th of October preceded by the double 'A' side single "Wonderful Emergency" c/w "Don't Worry Baby".

Originally released in 1987, "Sex Bomb Baby" is actually a collection of Flipper material dated no later than 1982, comprised of singles, B-sides, and compilation tracks. The single version of "Sex Bomb" is an all-out classic, a frenetic, yelping punk answer to "Louie, Louie" and the rest is no slouch either - outrageous, harsh, sludge-punk from San Francisco's finest.

'A retro romo romp through a New York ghost world that is neither the drainpipe-and-denim sweat pile of CBGBs nor the mirrorball glitz of Studio 54 but somewhere in between' – Uncut. 'Imagine if fate had been kinder and Ian Curtis was still with us and recording with Money Mark, producing low-fi paeans to the everyday struggles of life and love writ through with a wry irony. A crooner for our times, Baby Dayliner's monotone voice and cranky instrumentation belies a hopeless romantic who would make Serge Gainsbourg and Leonard Cohen smile' - Wallpaper Magazine.

This collaboration with Baby Ingrid, is the debut solo album from Liverpool based songwriter Shane Beales. His songs are honest, and his voice holds a delicate authority. Influences include Radiohead, Ben Folds and Dave Matthews Band.

Fronted by the talented and articulate "Gleavey Twins", this is motorized modern day ska with a distinctly northern flavour, drawing its influences from Two Tone, Jamaican ska, Motown and possibly even The Fall. Propelled by driving rhythms, a brilliant, exuberant brass section and a unique, ascerbic vocal style, this is a rare treat from a criminally overlooked outfit.

Debut release from the newly signed singer-songwriter on Ultimate Dilemma. Cute pop with a distinctly 60s feel.