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On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
This quintessential collector's vinyl edition includes Etta James' sensational
debut LP, At Last!, first released by the Chess Records subsidiary label Argo in
1960.
The original ten tracks from the album are akin to a greatest hits collection, with
signature gems like "At Last", "All I Could Do Was Cry", "Anything to Say You're
Mine", "I Just Want to Make Love to You", and "Sunday Kind of Love", among
others. In addition to this original masterpiece, 4 bonus tracks from the same
period are also included.

Belgian instrumentalists Glass Museum have found the perfect balance between piano and drums, where jazz and electronics collide, uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points.

In motion since 2016, the duo consisting of keyboardist Antoine Flipo and drummer Martin Grégoire, have a rich history written around a powerful connection to duality. From the initial impact of the 'Deux' EP in 2018, to the synthetic and organic textures of the critically acclaimed 2020 album 'Reykjavik', Glass Museum has found its balance in symmetry.

Released 29th April via the groove-obsessed Sdban Ultra label, 'Reflet' was born out of a desire for freedom, a wish to innovate and travel differently. This new piece stands out as an artistic climax crafted at the crossroads of time and genres, an electronic proposition wrought by two brave hearts, tempered by the organic reflections delivered through computer free melodies. An album which places the human at the core of its compositions and in order to return to a more instinctive and instantaneous means of creation, the duo retreated to a secret location in one of the most remote parts of the Ardennes. It's there, in the shade of spruces, that the album was first born.

Extremely cinematographic, 'Reflet' delivers a panoramic view point: jazz, breakbeat, minimal techno and deep house, collide on neo classical grounds. From the dynamic instrumentation of album opener 'Caillebotis' to the absorbing oscillations of 'Shiitake' and grand gestures of the album title track, 'Reflet' is an odyssey running through troubled times, an ode to night time, to life, dreams and to all rhythms that convey emotions beyond words. Like its immersive creative process, the album offers a counterpoint and, above all, endless perspectives. Elsewhere, the pulsing, melodic 'Auburn' and entrancing electronic textures of 'Opal Sequences' continue the exploration before the strutting 'Kendama' showcases the electronic sensibilities that are buried within their productions.

Shining as a true instrumental tour de force, 'Reflet' also takes inspiration from the progress of the Ohme Collective. At the crossroads of art disciplines, science, new technologies and societal challenges, this creative community draws the future of visual arts and created the album artwork for this resolutely futuristic album.

Having initially won the opportunity to perform at the Dour Festival, Tournai back in 2016, Glass Museum have picked up a series of awards and distinctions back home in their homeland and they now find themselves dining at the top table of Europe's contemporary music scene. The international music scene opened itself to the band once again in 2019, with the duo performing at Elb Jazz in Hamburg, the legendary Ancienne Belgique in Brussels and the Iceland Airwaves Festival, Reykjavik.

In 2020, Glass Museum distinguished themselves by remixing a track for electronic artist, Rone. Having recently received a César Award for his soundtrack to the Jacques Audiard film, Les Olympiades, the French producer called on the Brussels duo's know-how - a mark of confidence which once again underlines the international reach of Glass Museum. Germany, Iceland, Turkey, Romania, Greece, France or Czech Republic have already approved Glass Museum's singular recipe.

REPRESS

Antonio aka Raw Ambassador is the next from the another perspective that presents us 4 tracks of Raw electro for dance floor and with their travel melodies.

Los Angeles-based visual artist and musician Lionel Williams was born
and raised in a family of musicians - he is the grandson of soundtrack
composer John Williams
Since 2010, he has been releasing music as Vinyl Williams. After three albums
released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick’s Company
(Into, 2015 and Brunei, 2016), Vinyl Williams joined French label Requiem Pour Un
Twister for his fourth album Opal released in 2018. Throughout his art, both
musical and visual, Lionel Williams explores the syncretistic territory between
reality and dreams, between earth and space. “Music is a chance to transmute
qualitative opposites into the center, to dissolve all illusions of duality”, he says.
Since chaos and disorder are an illusion, Vinyl Williams is trying to reach a new
state of celestial harmony on Opal. The result is an album fueled with mysticism
and space age utopia, ten kaleidoscopic lush pop songs that takes you into a
transcendental journey on an opal marbled vinyl limited to 500 copies.

Legendary American musician Brian Jackson announces his first solo album in over 20 years,
‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and
released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil
Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’
and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went
on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy
Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to
stick with the sounds they know best at some point in their careers, Jackson remains an
unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a
performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t
sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns
out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right
around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some
unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking
“what would a Brian Jackson album sound like if the 21st century Brian were to complete
that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in
Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer.
“We sketched out musical ideas, drank way too much coffee, consumed way too many
tacos and sampled perhaps a few too many exotic whiskeys while talking about things that
were important to both of us personally. The lyrics for the songs are a result of those
conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky
Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner
Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera
and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika
Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals,
distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the
arrangement effortless, the production human and analogue. From golden-era soul-funk
opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact
groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of
the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.

Red Vinyl

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth…

Das klangliche Spektrum des zweiten Albums Why You Lacking Energy?, vereint alles von ausladenden Klavierballaden bis hin zu massiven Synthie-Hymnen. Von der Band komplett selbst produziert, macht das Zweitwerk tatsächlich das gesamte Spannungsfeld greifbar, das den Sound von Cassia auszeichnet: Es sind Songs, die zwar einerseits ganz klar im Hier und Jetzt verortet sind, die das Leben im Augenblick einfangen - und doch fließen immer wieder auch Gedanken an Zurückliegendes und Zukunftsängste ein in ihre Kompositionen.

Cassia - Rob Ellis (Gesang/Gitarre), Lou Cotterill (Bass) und Jake Leff (Schlagzeug) - kreieren kathartische Indie-Klangwelten, in denen sie all ihre Emotionen ausbreiten, ohne dabei die Kontrolle zu verlieren.
"Tatsächlich lernen wir uns erst durch das Schreiben der Songs richtig kennen", meint Lou, "denn in unseren Texten steckt wirklich alles drin." Schon mit der Veröffentlichung ihres Debütalbums Replica (2019) avancierte die UK-Band zum Main Stage-Act bei den größten britischen Festivals und sicherte sich auch eine gefeierte Live-Session in den Maida Vale Studios von BBC Radio 1. Während inzwischen auch Clara Amfo,

Annie Mac und Jack Saunders zu ihren Fans zählen (siehe Zitate unten), bekamen sie von BBC Radio 1 bereits zwei Mal das "Hottest Record"-Qualitätssiegel verliehen. Nachdem ihre gefeierten Live-Shows Cassia auch eine Nominierung bei den AIM Awards und einen
Stammplatz auf den jüngsten "Ones to Watch"-Listen zum
Jahreswechsel gesichert hat, dürfen sich die Fans nach
den April-Shows auf weitere Deutschland-Dates im
September freuen

Nightlands is the solo project of The War on Drugs’ bassist and multi-instrumentalist Dave Hartley. Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth. Throughout the album, there are plenty of buoyant high moods where the pitter-patter of drum machine and humming digital organ hints at Hartley's low-key tropicalia streak, but the lyrics anchor the dreaminess in real-world sorrow and resignation. Nowhere are these sentiments more apparent than on the title track, a nearly acapella recitation of "America the Beautiful" that poignantly hovers over a mirage of soft keyboards before dovetailing into Hartley's own words about the hypocrisy of the American dream. "This was never intended to be an overtly political record" he admits. "I have so many friends who are able to process the frustration of current events gracefully or with wisdom or in a nuanced way, but I often find myself just consumed with anger about it all. I decided to just let that come out, and it manifested itself lyrically." Moonshine's wide-eyed, utopian instrumental backdrops provide sharp contrast to Hartley's lyrics, which sting even harder within the sweetness. Even in light of the album's vocal emphasis, Hartley's history as a bassist brilliantly beams through Moonshine, giving effortless and sprightly movement to songs like "Down Here," which also features an extended section of saxophone lent by his Western Vinyl labelmate, Joseph Shabason. In addition to Shabason, the album hosts a short list of remote collaborators including four of Hartley's bandmates from The War on Drugs, Robbie Bennet, Anthony Lamarca, Eliza Hardy Jones, and Charlie Hall, as well as exotica virtuoso Frank Locrasto (Cass McCombs, Fruit Bats), and producer Adam McDaniel (Avey Tare, Angel Olsen). Hartley was forced to keep the guest list small out of the necessity of pandemic isolation, coupled with his move to a smaller city, all of which challenged him to do most of the album's heavy lifting right down to the mixing duties, resulting in the most independent effort of his career. By that measure, Moonshine is also the clearest image yet of Dave Hartley as a person and creator.

CYPRESS HILL - 30th ANNIVERSARY CASE BOOK
To commemorate the 30 year Anniversary of Cypress Hill’s debut album Get On Down is proud to present the complete album on 7 inch vinyl singles for the rst time ever housed in a deluxe casebook. LIMITED TO 2000 UNITS WORLDWIDE! The debut album is presented as a set of six 7-Inch vinyl records presented in a Hardcover Casebook which holds all six records in built-in sleeves Full-color 80 page booklet with liner notes by journalist Chris Faraone, complete with photos and lyrics, and more Housed in a premium outer slipcase, debossed with the iconic Cypress Hill logo in metallic red foil. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Records like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made this album an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine. Journalist and author Chris Faraone highlights the group's relationship in the reissue's liner notes saying, "By the late 80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter's deep wrangle, the formers inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop's most formidable young producer, while straddling the bi-coastal gap." Faraone was able to dive in deep with the band for the liner notes, hearing story after story, including the particularly interesting tale of their unlikely 91 radio hit, "How I Could Just Kill A Man". In the B Side wins again story, the group recalls receiving resistance from the label in regards to which single should hit radio first. Initially, the label thought "How I Could Just Kill A Man" was too risky, and even though the single initially "The Phuncky Feel One", one of the album's strongest cuts, as the A-Side, college and commercial mix-show radio couldn't resist the dusted, heavy groove of Kill A Man. The song – which included a catchy, LA drive-by-inspired chorus – ended up as an unlikely, but powerful double A-sided single that even topped the Billboard Rap charts. More singles would follow, including "Hand On The Pump"; "Pigs"; and "Latin Lingo". And by the fall of 1991, the album was a full-blown critics darling. If you are a Cypress Hill fan and 45 collector this limited edition 30 year Anniversary 7” boxset is a must have!

Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.

First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?

For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!

On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.

Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.

The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!

Clear Yellow Vinyl

HOTMIX Records presents Simoncino - Jungle Dream - The Ron Trent Remixes!
The Chicago Master re-interpreted Nick Anthony Simoncinio's "Jungle Dreams", formerly out on Mathematics in 2013.
Highy recommended!

restock!

Written and recorded during 2020, a year marked by forced quarantine with in turn proved to be a prolific time for musical composition. It is an album about change, aging and the fading memories one has, often more of a product of the current state of a person than an accurate description of those remembered moments. With age we tend to forget or lose contact with particular moments and parts of our own story and context become erased forever, as though they never happened. With this album, peter bjärgö takes the first steps into something new, bringing along his signature sound from past projects into a slowly evolving transition to a sonic world beyond his previous achievements. Leaning towards a more ethnic, rhythmic sound, integrated with his now trademark melancholic guitar work and deep solemn vocals, these are the first steps to a new horizon he’s ceaselessly crafting for our listening pleasure.

Producer Frank Farian, the man behind Boney M and Milli Vanilli, rolled out his ‘90s equivalent, La Bouche, in 1995. The German based Eurodance duo La Bouche featured vocalist Melanie Thornton and rapper Lane McCray. They gained international success in 1995 when the hit single “Be My Lover” reached the top of the charts. In that same year they released their debut album Sweet Dreams featuring the singles “Fallin’ In Love” and “I Love To Love”.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Australian based producer Kloke debuts on UTTU with the 2nd in a series of ambient jungle 12s Cosmic Connection Vol.2 - counter culture classic space jamz.

Greek genius Christos Chondropoulos’ stunning debut for The Death of Rave finally lands on vinyl - an incredibly imaginative masterwork rich with quartertone melody and meticulously chiselled production, shaped into a future-folk songbook that deeply expands on his wonders for 12th Isle and The Wormhole. Highly recommended if yr into Paul DeMarinis, Rashad Becker, Ryuichi Sakamoto, Kara-Lis Coverdale's 'Aftertouches', Jonathan Bepler’s soundtracks for Matthew Barney, Black Sabbath or Aphex Twin. Floors us every time!

Continuing Christos’ singular fascination with, and reappraisal of, Ancient Greek modes, ’Relics’ further excavates the deeptime topography of Greek music prior to the ban of “oriental” or 1/4 tone microtonal modes nearly 100 years ago.

Clandestine, euphoric, hyperreal and otherworldly; it takes shape as faintly familiar forms of new age folk, avant-techno and metal musicks, but with an alien appeal that treats the past almost like another planet, never mind a foreign land. Christos studiously raids the past for lost treasure, navigating his tuned instincts as an improvising percussionist, and lover of non-Western composition, to create a uniquely absorbing soundworld that resembles an AI’s dreams after ingesting encyclopaedia entries on thousands of years of Greece prior to 1936. In the process, the album acutely questions his and our relationship to the past, and what has become lost in translation with reliance on prelaid templates and the “wisdom” of elders.

Bursting to life with the iridescent arps and new age AI chorale of ‘First Love Fereter’, and concluding with bone-clacking raverie of ‘Jungle X’, the album offers a stunning advance of the themes and aesthetics in Christos' previous records, from the self-released free jazz of ‘Fingerpainting’ (2013) to 2021’s 12th Isle released ‘Athenian Primitivism.’

Thanks to meticulous detailing, ‘Relics’ allows a finer play of textured light and almost tangible - yet entirely generated - voices into his music: most strikingly on the sublime songcraft of ‘Regret’ and ‘I Dream Of You’, while the likes of ‘Asham’ are bathed in deeply uncanny atmosphere, and his percussive proprioceptions are most heightened in the delirious battery of ‘War Horns’ and ‘Sacrifice’, with ‘Cyber Crust’ calling up demonic, cthonic pagan spirits resembling Black Sabbath undergoing regression therapy.

Reissue!

Cold Busted has navigated the smooth seas to unearth Sailing, the new album from Moroccan guitarist and beat-flinger saib. The Casablanca-based producer has steered his sound into warmer waters. Mixing tempered hip hop beats with jazzy vibes and a lounge sensibility, saib. touches on a style that's both chill and opulent. The album's opener, "Archipelago," sets the scene with gentle piano, swirling strings, and beachside sounds that would make Martin Denny proud. "Tropics" pushes the agenda further, featuring delightful vibraphone lines, stand-up bass, and boom bap beats, providing the perfect soundtrack for poolside cocktails. The sleepy crooning of "Blue Memories," the future-retro sing-a-long of "Mermaid Dreams," and the guitar/vibes interplay of "Pastel" provide other highlights. Sailing's twelve songs show saib. as an artist capable of bringing a sunny climate to any listening environment.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

Propelled into the industry at just 19, Foxes was at
the forefront of the pop stratosphere with her
critically acclaimed debut album ‘Glorious’,
Grammy-winning collaboration ‘Clarity’ with EDM
giant Zedd, big name support slots and six singles
in the UK Top 40. In 2017, she decided it was time
to press pause and focus on connecting with
herself.
 ‘Friends In The Corner EP’, available on
transparent vinyl, is ultimately about facing up to
tough experiences that led her to pressing that
pause button, and the effects of having your
confidence and agency diminished.
 The EP features previously released singles ‘Love
Not Loving You’ - her bold, buoyant comeback
single that transports you to the light at the end of
her time away; ‘Friends In The Corner’ on the
fragility and hidden nature of mental health
struggles; ‘Hollywood’, revealing some of the most
challenging experiences she’s had to date,
chasing her dreams to Los Angeles as a young
songwriter; ‘Woman’ with its universal message of
standing up to the unacceptable; new single
‘Kathleen’, an ode to her grandmother and
unheard tracks ‘Courage’, ‘Dance’ and an acoustic
version of ‘Kathleen’.

Coming hot on the heels of his debut on Distant Horizons, London breaks-master Yosh joins the core label family with a killer 4-tracker on Lobster Theremin.

As one of the most recognisable names from the emerging UKG re-rise (it never went away, y’know), Yosh has developed a reputation for dutty 2-steppers and screw-face breakbeats designed to delight and devastate the rave.

‘My Fire’ is a jungle-influenced cut of broken breaks - malfunctioning, soulful and electric - the perfect accompaniment as day turns to night, the atmosphere loosening as it does. A sun-setting stepper brimming with v i b e s.

‘Hold On’ sees Yosh venture towards his traditional garage territory - low-swung percussion, wubby stabs and ambient dreamscape aesthetics spraying contemplative thought patterns into the air as we sway from side-to-side, before ‘I Feel’ reignites the junglist inspiration with its rumbling bassline, bouncing breaks and underground energy.

We reach our climax with the most ‘heads down’ cut on the record; ‘Outa Sight’ maintains that light and dark sensibility that has become such a staple of Yosh’s productions, simultaneously taking us from moments of sweaty intenseness to moments of blissed-out ecstasy.

Yellow Vinyl

Parisian producer DJ Atlance follows up an appearance on Happiness Energy’s various artist compilation late last year with five sun-soaked house cuts on Running Out Of Steam, just in time for January coming to an end.

‘Le Club, La Nuit’ gets things underway with a sample-heavy slice of early evening house music; funk-driven basslines, radiant atmospherics and a distinctive Atlance, hip-house bounce hold the door for the listener as they venture further into the dimly lit room. ‘When I Hear Your Voice’ throws it back to the 00’s with its MTV-pop-dance blend of catchy vocals and murder-on-the-dancefloor energy.

‘Eternal Sunshine’ is as radiant as the title would suggest; a bright sequence ofsaxophones, jazz-keys and feel-good warmth that we wish would never come to an end, before Atlance shows what he would ‘Do For Love’ on a synth-bending, playful cut of coastal house music.

‘After The Storm’ maintains its housey aesthetic, but this time on an electro-tipped 2-step; instantly recognisable vocal samples, dreamscape aesthetics and meditative breaks uniting on a blissed-out trip.

Boris Bunnik with a Vernon Felicity debut album! Days Of Leisure is a very well produced warm and analogue sounding house album. Think Metro Area vs. Larry Heard and you are almost there.. This is the sound of the summer and a future classic in the making.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Love At Leeds is the realization of many dreams for Mikey Erg
A lifelong music obsessive, growing up in the early 90's,there was one sound he'd
always hoped to capture on his recordings. The sound of Steve Albini. Steve's
credits include The Pixies, PJ Harvey, Jimmy Page & Robert Plant and of course
Nirvana's 3rd LP In Utero, One of Mikey's absolute favorite records. Mikey had
never in his 20 plus year recording career ever gotten to make a fully analog
recording. Love At Leeds was the perfect time to rectify all of that. Using the
group of musicians that helped him realize his debut solo LP Tentative Decisions
(Jeff Rosenstock, Alex Clute & Lou Hanman), He Headed out to Chicago to make
this dream a reality. Recorded and Mixed in only 5 Days, Love at Leeds is a swift
25 minute long grunge-pop tour de force. Once the album was complete, Steve
and his trusty razorblade compiled the master mix reels and sent the band on
their way. The tapes then made the journey to Hollywood, California to the
legendary Bernie Grundman Mastering facility to be mastered and cut straight to
lacquer disc by Chris Bellman (Frank Zappa, Neil Young, Kenny Dorham, Pearl
Jam).

"Points of Light” is the debut album from Sơn FM, consisting of Nic Ford and Attiss Ngo. After being part of the Vinyan cassette, the Vietnam-based duo returns to Siamese Twins Records with the label's first album in 2xLP format.

The album is an ode to the patterns of nature, which are repetitive but never quite identical. Playing with the endless possibilities of phase-shifting is at the core of Sơn FM's heavy ambient sound, shaped by their signature live performances across art galleries or surrounded by nature. Weaving dreamy kinetic sound tapestries into morphing texture movements. Analog synthesizers loops slowly decay and unfurl, ranging from melodic elements to droning sequences in a fourth world atmosphere.

This is music for inward journeys and exploring the interstices between cosmic patterns. Commanding harmonies evolve in soft-focus, phase-shifting soundscapes reminiscent of how sound is perceived underwater, at mountain summits, in the womb, or in altered states. Resembling liminal spaces between places, like dreams that haven't been dreamt yet or forgotten visions at the edge of consciousness, gently corralling its audience towards transcendental points of light.

'Hotel Florida', the debut album by trombonist Andreas Tschopp and
baritone saxophonist Matthias Tschopp's Swiss sextet Sparks and Tides,
delivers an enthralling, improvisation-laced set of electro-acoustic
soundscapes
The first collaboration co- led by brothers Andreas and Matthias Tschopp, the
Swiss sextet makes a subtly enthralling debut with Hotel Florida, an album
marked by lapidary textures, extended melodies, and finely calibrated production.
Sparks and Tides also refers to the flow of their music, which unfurls in unhurried
waves until suddenly surging with quicksilver flurries. Cinematic and full of
intriguing passages, it's music for unsettled dreams. "There are lots of little things
like drum machine tracks, bass drones, live sampling of the horns by the
keyboardist and using the sounds as samples, and also some modular synth
processing of the saxophone," Andreas says.
The group brings together some of the most creative figures on the small,
intertwined and fervently inventive Swiss jazz scene. A member of the R&Binfluenced electro- duo True, drummer Rico Baumann is as deeply versed in hip
hop, pop and electronic music as he is jazz and improvised music, which is the
terrain he inhabits with Andreas in the collective jazz quintet Le Rex.

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Vinyl is limited to 500 copies on black vinyl, no download card. Sunzoom have been making a stir from their Liverpool base and this highly anticipated debut is not to be missed. Lo-fi and DIY in equal measure, the record was only conceived of 4 weeks into the first lockdown when songwriter Greg McVeigh decided that recording music was the only way to stay sane. Building a makeshift studio in the kitchen of his North Liverpool home (and deciding to name the new project SUNZOOM after a favourite Captain Beefheart track) Greg set about learning the processes of home recording from the ground up. The album theme draws upon the peculiar aspects of lockdown; isolation, spiritual introspection, longing to be somewhere else, weird dreams, drinking too much and takes the listener on a journey of escape. The songs move the record through fields, countries, time, space, memories and longings to finally end back at home in the reality of the four walls. Digging into some past unreleased recordings, poems, unfinished snippets of tunes and writing new songs (usually sung into his phone during months of daily beach walks with his dog) Greg began to build a record within the claustrophobic environment of summer 2020. Friends were able to collaborate (by the magic of old recordings and new parts sent via email) and in early 2021 Sunzoom entered ARK Recording Studios in Liverpool to add live drums and vocal parts subsequently spending a month mixing the record back home in the familiar surroundings of the kitchen where the concept first began. The result is a snapshot of the period that magically transforms personal and public strife into glorious pop-folk psychedelia.

Margaret Dygas may be based in Berlin but her unique sound can't be tied down to any one city or scene, as she proves on her latest 12" across three tracks for the consistently exciting Half Baked label. Not that there's anything half done here, of course, with A-side tune 'Butterfly Effect' a prime slice of groovy. resonant techno that's understated and restrained enough to gain comparisons to Jaydee's 'Plastic Dreams' classic. 'CC Is 33' is warmer, with nicely slidy, jazzy organ chords and itchy technofunk rhythms, with the most minimal of the three tracks, the static-infused, atmospheric 'Subliminal 20A7', coming last but by no means least. A great showcase for a great, original talent.

Tropical Horses has been a figure of the Parisian underground for a little decade. After almost mistakenly seducing young talent runners who had only understood his music at its brightest, the boy released the very dark "Mirador" on Anywave in 2016, a hybrid between malevolent pop, walls of sound and assumed madness.

Since then, this great loner has never stopped rising to the hard, alone with his loopers, in intense and rough concerts while finely mixing extra-western grooves and melodies to his art. From these 5 years of maturation and opening results Fever, haunted, joyful and overpowering record.

Vinyl includes A 2-Part Full-Colour Vaughn Bodé Panoramic Collage

4 x VB Stickers (10x10mm)
Frame-able Insert Print (300x300mm)
180gm Black Vinyl
Shrink-Wrapped Gatefold Sleeve