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We Release Jazz is sooooo happy to announce the release of a very limited edition double LP for Boillat Thérace Quintet’s 1974 Montreux Jazz Festival performance, with 3 bonus studio tracks! This gem from the Geneva, Switzerland band follows the acclaimed WRJ reissue of their self-titled album (1974) and My Greatest Love (1975), their full-length with Benny Bailey. The 300-copies-only white sleeved DLP comes with the classic obi and features fully remastered audiophile-ready recordings.

Captured live at Montreux Jazz Festival, July 3rd 1974, this rare audio treat features Boillat Thérace Quintet fan-favorites including their infamous homages to Swiss Marmite ("Cenovis"), and Geneva's public transport line Tram 12 ("1224"), as well as remarkable renditions of timeless jazz numbers by Freddie Hubbard ("Straight Life" and "Backlash") and Chick Corea ("Spain").

Additionally, the double LP offers 3 bonus songs taken from the ensemble’s sessions for their self-titled debut: superb takes on Herbie Hancock’s "Dolphin Dance", Wayne Shorter’s "Adam’s Apple", and Claude Engel’s "5th of July, Dulong Street".

All in all it’s a beautiful soul-jazz/modal fest full of flair and heart, one that perfectly encapsulates the vibrant and inventive Swiss jazz scene of the 1970s. A must have for fans and collectors.

This new album from We Release Jazz follows the label’s celebrated releases of the Ryo Fukui catalogue (Scenery, Mellow Dream, A Letter from Slowboat, Ryo Fukui in New York, My Favorite Tune), Hiroshi Suzuki’s seminal Cat album, and Le Cercle Rouge soundtrack by Eric Demarsan among other jazz wonders.

Svante Sjoblom is ready to release his third full length album "Telling
Lies" - Just like its predecessor "Before It Breaks" the album was
recorded in Svante's workshop on the countryside in the very south of
Sweden - The album was recorded and produced by Magnus Norrenberg
and Svante Sjoblom

Sloe Gin is the seventh studio album by Joe Bonamassa and originally releasedon August 20, 2007. The album re- teams Joe Bonamassa with producer Kevin Shirley (Joe Satriani, Black Crowes, Aerosmith, Led Zeppelin), who produced 2006's You & Me, which debuted at #1 on the US Billboard's Blues chart in June of 2006.

With 27 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time.

It's Joe Bonamassa at his finest, ready to rock

So, It's Like That is the second studio album by Joe Bonamassa and originally released on August 13, 2002. Contrary to Bonamassa's 2000 debut album A New Day Yesterday, which featured a mix of original songs and cover versions, So, It's Like That is made up almost entirely of tracks written by Bonamassa and a range of collaborators.

With 27 #1 albums, yearly sold-out tours worldwide and custom nnual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time.

It's Joe Bonamassa at his finest, ready to rock

Blues Deluxe is the third studio album by Joe Bonamassa and originally released on August 26, 2003. Recorded at Unique Recording Studios in New York City, it was produced by Bob Held and features nine cover versions of songs by classic blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson, Elmore James and more. The album is completed with three original tracks, including the fan favorite Woke Up Dreaming.

"If you had told me 20 years ago my career would last long enough to see the 20th anniversary of this little record called 'Blues Deluxe,' I'm sure I would have laughed," Bonamassa reflects. "Blues Deluxe was my last shot after being dropped by two major record labels and my booking agent.It was then that my manager, Roy Weisman, had his first 'all in' moment.We would go back into the studio and record. A record that would hopefully define the direction of whatever future career I might have."

With 26 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Official soundtrack to the video game Grendizer, Feast of the Wolves, composed by Marcin Przybylowicz and Magda Urbańska.

Get ready for an unforgettable adventure with Grendizer, the famous giant robot. This action-adventure game, adapted from the cult anime series, will plunge you into the world of its creator, Go Nagai, and give you the chance to pilot the most powerful of robots and fight the forces of evil.

Grendizer is a cult manga created by Go Nagai in 1975. This sci-fi masterpiece revolutionised the mecha genre by introducing giant robots in epic battles. The captivating story plunges us into a futuristic universe where the hero, Actarus, pilots the powerful robot Grendizer to protect the Earth from alien invaders.

As soon as it was published, "Grendizer" was a phenomenal success. The visual impact of the detailed drawings and spectacular battle scenes contributed to the general craze. The manga quickly became a veritable social phenomenon, generating spin-off products, animated adaptations and a devoted fan base.

The career of composer Marcin Przybylowicz is marked by his exceptional talent and memorable contribution to the video game industry. Przybylowicz has brought his musical creativity to many projects, but it is his collaboration with CD Projeckt on The Witcher 3 and Cyberpunk 2077 that has earned him worldwide recognition!

Hey Colossus's mammoth, nearly album-length cover of 'You Laugh At My Face' from Catholic by Patrick Cowley and Jorge Socarras, was initially commissioned by The Quietus for Sound + Vision subscribers before being released as part of state51's ongoing Singularity series. Here it's presented in marbled red vinyl with a stunning Bass Clef remix on side B.

"I think the mixing and the choice of sounds in anything that Patrick Cowley did is flawless," says Chris Summerlin of Hey Colossus. "Especially the instrumentals on School Daze – you can imagine the places they're in, the planets they're on, and I think that's a good approach to mixing any type of music."

The result is the group's latest high-water mark. Over its almost 22-minute runtime, Hey Colossus make the song their own by utilising an expansive arsenal of dub-like tactics. Excepting a rough-and-ready surprise near the track's conclusion, their 'You Laugh At My Face' is a genuinely gorgeous, psychedelic exploration of the Cowley and Socarras original.

TOPradio, the trailblazing force in dance music, proudly announces the release of its highly anticipated 5 x 12" Vinyl Box Set, showcasing the very essence of timeless classics through the revered Retro Arena brand.

Renowned for curating unforgettable musical experiences, Retro Arena has meticulously handpicked 22 iconic tracks that continue to set dancefloors ablaze. This limited edition vinyl collection is a testament to the enduring allure of the classics, encapsulating the spirit of an era that defined the electronic dance music landscape.

From anthems that resonate with the golden age of dance to tunes that have stood the test of time, the Retro Arena 5 x 12" Vinyl Box Set promises an immersive journey through the evolution of electronic dance music.

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

" From the pulsating streets of Detroit to the rhythmic alleys of Verona, immerse yourself in "V-troit", a sonic gem crafted by Italian rapper Capstan and Detroit's very own Dankery Harv of Frank-N-Dank, well known for their collaborations with J Dilla and Madlib. Born from an electrifying encounter in Verona, this EP is a testament to international collaboration at its finest. Journey through raw beats, compelling verses, and a gritty ambiance that transcends borders. Ready to vibe with the V-boys? Press play and dive into the essence of "V-troit

In 2022 we journeyed to the center of the earth with Agartha, Lasha Chkhaidze's first album. This time we go the opposite direction, and fly towards the outer edge of the atmosphere.

Atmos, the latest offering of the young and talented Georgian artist, sees him explore the ether. Subtle and intricate layers are weaved together on the course of six tracks. This ambient album offers a completely different artistic direction compared to his previous work. Where melancholia and piano dominated Agartha, we are throughout Atmos taken into an otherworldly environment. The LP’s atmospheric undertone combined with its glitchier elements brings it into a lightly psychedelic dimension. With its really beautiful soundscapes and subdued intricate ideas, Atmos will undoubtedly please listeners of finely written ambient.

Lasha Chkhaidez is a gifted musician capable of crafting evocative music, The Intergalactic Institute for Sound is glad to present his deeply immersive experience to the public.

If there's one specific component that grounds 'Sky Flesh', it's focus. Italian musician and sound designer Marta De Pascalis flexed her technical muscle on 2020's 'Sonus Ruinae', layering various sounds and processes in an attempt to touch the sublime. In contrast, 'Sky Flesh' is a single thought, composed using just one instrument: the Yamaha CS-60. A slimmed-down sibling to the gargantuan CS-80 - the analog synthesizer used by Vangelis to create his iconic 'Blade Runner' score - the CS-60 was released in 1977, a few years before the MIDI protocol was introduced to help standardize production methods. MIDI would change the electronic music landscape completely, offering a level of control that De Pascalis consciously relinquishes, preferring to highlight expressiveness and timbre, elements more readily associated with acoustic instruments. The album arrives as much of the wider experimental scene busies itself with algorithmic composition and AI-assisted modeling; De Pascalis chooses to work instead like an organologist, harnessing the CS-60's mercurial magic to suggest deeper truths about our evolving relationship with machines.

Currently based in Berlin, De Pascalis grew up in Rome, where she was surrounded by atrophied ruins that piqued her interest in decay and memory. Over her last three albums, she used tape loops and advanced synthesizer techniques to create a unique sound world that's guided by her musical philosophy, rather than a specific aesthetic. As she's developed her technique and confidence, her music has become even more idiosyncratic, and at this stage in her career she's stripped her sound down to its core elements, focusing on emotion, narrative and mystery. Using timbres that recall a time when electronic music still waved towards the future

V-House Sound boss, AJ Christou is next to make his Hot Creations debut with the two-tracker ‘Babaloop’.

Hailing from Manchester, AJ Christou stands as a testament to artistic accomplishment with his unwavering commitment to his evolving craft and sound. The success of his new label, V-House Sound, has made this year particularly significant for him, with unshakable support from industry heavyweights like Marco Carola, Joseph Capriati, and Jamie Jones, backing his reputation as one of the most sought-after DJs in the game. With another impressive year behind him, December now marks his debut on Hot Creations as he delivers two club ready gems in his ‘Babaloop’ EP.

The bumping two-tracker kicks off with ‘Babaloop’, a lively late-night house cut featuring entrancing male chants and a bouncing bassline that captivates the listener with its groove. ‘No Fear’ follows up with a funky bass riff, alluring female vocals and deep stabs, radiating prime-time resonance and bustling club energy.

One of the most in-demand producers in indie rock, and one half of Foxygen, Jonathan Rado's recordings for The Killers, Father John Misty, The Lemon Twigs, Whitney, and Weyes Blood devour the canon, and return something distinctly modern. On For Who The Bell Tolls For, Rado's first solo release in ten years, the producer unveils a refined version of his signature sound, intricately sculpted by anthemic maximalism and good old-fashioned studio magic. The album is an exercise in mournful maximalism, transforming the mythos of American pop music into a vibrant meditation on death. The spirit of late producer Richard Swift _ Rado's friend and mentor _ can be found across the collection, imbuing tracks like "Easier" with a tangible sense of loss, and Swift-ian turns of phrase. On other songs, such as the addictive "Don't Wait Too Long," Rado paints an arena-ready production with streaks of longing and hopelessness. In many ways, For Who The Bell Tolls For is a musical ode to Swift, nodding to the late producer's legacy with homespun epics that straddle the line between joy and grief. Recorded at Electric Lady Studios, New York and Sonora Recorders and Dreamstar II, Los Angeles, the album features appearances by Rado's frequent collaborators, including The Lemon Twigs, Brad Oberhofer, Andrew Sarlo, Jackie Cohen, and Kane Ritchotte. Despite this esteemed lineup and the gargantuan sound of the record, For Who The Bell Tolls For is a solo album at heart. Rado plays the studio like an instrument, his distinct voice present in every nook and cranny of the structure. This presence can be easily detected in every project that the artist touches, but it's never sounded so honest, so shimmering, or so Rado as it does here.

This is one of the last Chet Baker albums recorded in the States prior to the artists relocating to Europe in the early ‘60s. Likewise, the eight-tune collection was the final effort issued during his brief association with the Riverside Records imprint. The project was undoubtedly spurred on by the overwhelming success of the Shelly Manne-led combo that interpreted titles taken from the score to My Fair Lady (1956). In addition to becoming an instant classic, Manne’s LP was also among of the best-selling jazz platters of all time. While Baker and crew may have gained their inspiration from Manne, these readings are comparatively understated. That said, the timelessness of the melodies, coupled with the assembled backing aggregate, make ‘Chet Baker Plays the best of Lerner and Loewe’ a memorable concept album.

Following split EPs from DeFeKT and Rico Casazza, plus Tripeo and Cycloplex, Cultivated Electronics Ltd (CE's vinyl only sister label), returns with Volume 3 of their in demand 'For the Floor' series. As the name suggests all the tracks in the series are primed for the dance floor with Volume 3 featuring two more tracks apiece from two artists making waves in the Electro sphere. Electro heads should already be very familiar with Scand resident, Steve Allman who's also released stellar tracks on Soma's sister-label, Avoidant and A-Future's EON label. While Alex Jann is well known for being the man behind the excellent Censor Music as well as appearing on the likes of 20/20 Vision and brokntoys. Get ready for some no-holds-barred floor fillers to update your record box.

Banzaï Lab is proud to present 'Rogue Monsters 2', the new album from Al'Tarba x Senbeï.

Al'Tarba, the architect of sonic shadows, and Senbeï, the master of electronic textures, join forces once again on an opus that's off the beaten track.

A fusion work inspired by skate subculture, Rogue Monsters 2 transcends convention, blending heady rhythms and ethereal harmonies.

Retro samples blend with contemporary electronic melodies, recalling the fusion of styles and the abo- lition of musical chapels specific to the sound universe of 90's/early 00's skate culture. We're naturally reminded of the soundtracks to Larry Clark films (Bully, Kids), skate documentaries (Fully Flared, Video Days...) and video games (Extreme Games, Tony Hawk's Pro Skater...).

This second joint opus is much more than a simple album, it's a unique and timeless experience, fusing hip-hop, punk and electronic music.

Rogue Monsters 2 stands out in today's musical landscape, offering a bold vision of what defines an album, one that will appeal to those nostalgic for the Golden Era of the 90s as much as to those exploring new sounds.

Repress!

Released on Riverside records in 1962, "Letter from Home" was the debut album of Jazz vocalist Eddie Jefferson. Often credited as the founder of vocalese, Jefferson wrote memorable lyrics to classic jazz standards including "Parker's Mood.", "Lady Be Good," "So What," "Freedom Jazz Dance,"... Eddie Jefferson is backed here by a bunch of Jazz heavyweights, all at the top of their game. Among them: tenor sax masters Johnny Griffin and James Moody, trumpeter Clark Terry, pianists, Winton Kelly, and Joe Zawinul, bassist Sam Jones, and two hyper swinging drummers, Louis Hayes and Osie Johnson. This is an often underrated vocal Jazz album, a hidden gem ready to be unearthed. Don't miss it !!!

Slave featuring Steve Arrington is being reissued on vinyl for the first time since it’s 1978 release. After the successful reception to Rhino's Zapp and Roger - All The Greatest Hits release for Black Music Month, Rhino has got another excellent and unexpected addition for any funk collector!

Arguably the hottest of the '70s Ohio funk bands, Slave had an incredible run in the late '70s and early '80s. Their best tracks were lyrically simple, but the arrangements and rhythms were intense and hypnotic. Some of their top hits include "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981 – which you can expect to hear on this new reissue.

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals. Jason Grimes is all about making timeless music. The Cincinnati-based DJ and producer has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimes works with some of Cincinnati’s finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. As a teenager in the 90s, Grimes fell in love with hip-hop at an early age. He became comfortable scratching on a pair of 1200s and sampling records with an NPC in high school. After years of collecting records and working on his sound behind the scenes, he had compiled a huge discography of original songs – but he wasn’t sure how to share them. “I got pretty burnt out and I had to take a hiatus for a few years,” he explained. “There wasn’t much going on in the Cincinnati music scene, and it always felt like an uphill battle.” Then, on a casual bike ride with his wife through Loveland in 2015, Grimes came across a new record shop. “I heard some music playing and I saw a sign that read ‘funk/soul’ – I had to go in and see what these guys were all about.” He spoke with Terry Cole, co-owner of Colemine & Plaid Room Records. “It was a breath of fresh air to meet Terry. The interaction inspired me to start making records again.” A short time later, Grimes started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. “Doctor Bionic is a studio band of session musicians,” he shared. “The personnel changes on every record. It depends on the sound I’m going for.” For every record, the goal is to make timeless music. Grimes is responsible for writing, recording, producing, mixing, and releasing the records. Spiritual Conquest features several heavy hitters from the Cincinnati music scene. Brad Myers and Brandon Scott played guitar on a few tracks each. Marvin Hawkins laid down some live drums. The album offers a dynamic mix of instrumental hip-hop sounds. From punchy, head-bobbing beats to ethereal, floating piano lines, the mix offers a little something for everyone

Leatherette’s 2022 debut album Fiesta offered an intense, inspired and individualist take on post-punk, their caustic riffs, fevered saxophone blasts and impassioned vocals revealing the five-piece skilled purveyors of the form.

The group's second album Small Talk, however, is clearly the work of a group ready to take flight in a new direction all their own. As they toured Fiesta across Italy and Europe, Leatherette grew tired of the genre's constrictions and yearned to spread their wings. Small Talk transcends all the group have done before and coins a voice uniquely their own, driven by the same furies that propelled Fiesta, but finding fresh new forms for expression.

The album boasts some of Leatherette's most unabashed pop-songs to date – albeit pop that's deftly twisted, pointedly perverse and ready to explode when you least expect it.

It also contains some of the group's most challenging and uncompromising noise yet, the violent swinging back-and-forth between ugly din and nagging tunefulness a (molotov) cocktail that grows only more addictive with each listen. Where Fiesta saw the group enter the studio with a batch of anthems they'd honed on the road, their approach for Small Talk was very different, leaving the sessions open to moments of on-the-fly invention and sparks of mad genius. The interplay between the five musicians is so much stronger this time around, the group say, a result of the months of touring the band put in following the release of Fiesta.

Living out of rucksacks and spending hours on the motorway in a tour van might not be everyone's idea of a good time, but that's what Leatherette credit with sharpening their intra-group bond, their almost telepathic feel for the sounds that will complement what their bandmates are playing. “We were more free to play and to rearrange, because we knew each other better now,” says guitarist Andrea Gerardi, “and the interplay is more focused on this album as a result.” The sessions for Fiesta were frustrating, Andrea says, because “we were playing the same songs over and over”.

Their approach was radically different for Small Talk, however, which saw the group file into Bronson, a local club where they've often played before, and record the album on the premises. After the sessions, the album was mixed in Bristol by Chris Fullard (Idles) and mastered in Portland at the legendary Telegraph Audio Mastering by Adam Gonsalves. "We recorded live, all playing together at the same time, rather than overdubbing the instruments," says Michele. The process, he says, "made us more coherent, and the songs more spontaneous." "Our strength is live performance," adds Andrea, "so we tried to capture that interplay. Sometimes we made errors, but we didn't care, because it sounded great. This music is our lives - it doesn't need correction. We were free for the two weeks we recorded the album, and the ideas soared in the most amazing way." Indeed they did. The album's see-saw between angular noise and pop coherence is very much its strength, and very much the sonic identity of this singular group

Get ready for psych funk and a cover from far left field. PP12005 has all the makings of an instant classic.

Enter the dark opium den — a release reminiscent of those pioneers of funk, early Parliament and Funkadelic. These found tracks by Bruce Marshall and Bill Thomas were likely recorded around the time of “Osmium” and “Maggot Brain” — in fact, the artists featured here may have been directly influenced by the movement as it was happening, making these discoveries remarkable entries into the history of psych funk.

Where to begin with Bruce Marshall’s Gimme My Wife on the A side? Try to imagine a psychedelic football game, with driving wah wah funk as the halftime show. The frenetic instrumentation is guided by an infectious guitar hook, coupled with a loose chorus of voices and whistle blows. They all come together at the end to chant what sounds like “parrrr-tay,” a foreshadowing of that refrain the Beastie Boys would popularize.

For our EP-exclusive track on the A side, we present to you a haunting cover of the Ides of March song, Vehicle. Bruce Marshall’s version is much more sparse — a psychedelic dirge that’s almost unrecognizable compared to the original. Dark, simmering and sensual, it explodes into a soul-splitting vocal wail as the track reaches its end.

Things get a little more solemn on side B with an instant classic by Bill Thomas, Ease My Mind Pt. 1. A surprising dirge of fuzzy guitar leads into a chorus that sings, like a mantra, “I have seen much trouble...ease my mind.” Things morph into tight horns backed by some prominent organ — in fact, this is one of the tightest horn sections on any of our releases to date.

For the exclusive EP B-side, Bill Thomas and band pick up right where they left off with Ease My Mind Pt. 2 — an extended instrumental of “Ease My Mind Pt. 1.” It kicks off with a drum solo, then throws you into some horn-driven funk, with guitars holding down the background. Sax and organ take turns on the lead in this hot and delicious track that’s ready for your enjoyment.

Funk is alive and well on our fifth release — adding a new dimension to the amazing body of psych funk that’s already out there. Who knows what could have happened had these cuts reached ears during the 70s — but the time for the Marshall-Thomas ship to land is now. Put this on to get your next party going, and it’ll do most of the work for you.

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

"""Show You"" on Side A is ready to explode at Soul Nights around the world. A frenetic driving beat, strong horn charts, great soaring lead vocals, and sweet harmony backing vocals make this an instant classic in the canon of Northern Soul. And better yet, it is a fresh tune! Get yours and be the focus of the trainspotters after all the quantity is gone, bought up and filed into dj's collections.

""I Love Ya"" on the B-Side is a soaring 60s Sweet Soul ballad perfect for cruising on Sunday afternoon in summer. Harmony, check... vibes, check.... lyrics about loving your woman, check... all the boxes have been checked by this side. It is the quintessential compliment to the uptempo flip. The pairing is perfect.

An extra special thank you to Scott Aidlen and West Los Soul for contributing the songs featured on this release. Respect!"

"Join us as we welcome back New York Underground Funk Band with two more unreleased funk tracks from the early 1970s, “Funk & Soul” and “Wanna Be Free” — a more psychedelic take on their funk sound.

Funk & Soul states, “I’ve got funk and soul...don’t have to worry about a doggone thing” — and we’d have to agree. Yet another excellent track from NYUFB, though a little more psyched-out this time: imagine Sly and the Family Stone getting Jimi Hendrix for a session, then asking him to drop a fuzzed-out guitar solo. You might then end up with “Funk & Soul” — the heaviest, fuzz-driven Sly track you’ve never heard. Though it’s also NYUFB from start to finish.

Now that you’re in the right frame of mind from side A, you’re ready for “Wanna Be Free” — the deep funk B-side that trades out the spirit of Jimi Hendrix for the spirit of Jim Morrison. With all the respect that is due to these greats, NYUFB crafts their own psychedelic sound in this raucous cut that features thunderous drums and alluring interplay between organ and guitar. This was certainly designed to free your mind, and we believe the group succeeds.

These two tracks comprise one of our most exciting releases yet, as that promising band from the New York or New Jersey area further displays their remarkable range. These songs simply cannot remain buried. They’ve finally found their way to you on PP007, and we hope you’ll get a hold of it while you can."

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. The second release in the Psychic Readings catalog, Peach continues to explore her sound bringing us 3 tracks dedicated to the dance.

On one side, The Art of Casting Spells will bewitch you with its basslines. As they go from squelchy to stripped back, the track is an upfront yet ethereal ride in true peak time Peach style. Then, a track inspired by the sensation of butterflies in your sacrum - Flutter is a deeper cut for the heads down, introspective dancefloor moments. Both come complete with sassy stabs, moving pads & bouncy bongos - all of which are becoming a staple of her sonic palette.

On the flip, Gay Dreams brings us a starry-eyed escape into fantasies. Delicate synths flirt with the weighty bassline, as sentimental pads carry us into a slow surrender of emotion.

All the tracks are a testament to her many moods as a DJ. For club use or home listening, this is an EP dedicated to the dance.

An album of electronic soundscapes from an imagined score inspired by
scenes from the bestselling novel 'Piranesi' by Susanna Clarke
After reading and re- reading 'Piranesi', the album was written and recorded in
Willie G's studio in the East Anglian fens - the project was started during the first
Covid lockdown and reflects the deep sense of isolation that prevailed for many
people during that period. The eight tracks depict specific locations and events in
the novel and were conceived as parts of an imagined score were the novel ever
be adapted for television.
As with Willie G's previous albums this is wholly electronic, using his discrete
setup of hardware modular synths and sequencers.

An album crammed full of rare & unreleased tracks from the vaults of swell map founder Jowe Head. o Swell Maps formed out of various bedrooms in the mid -70s and became the pioneers of DIY punk. o Swell Maps founding members were Nikki Sudden, Epic Soundtracks, Jowe Head & Phones Sportsman o Includes demo versions of 2 of the bands Singles "Dresden Style" & "Read about Seymour". o Exclusive Liner notes by Jowe Head o Exclusive artwork originally designed by Epic Soundtracks & Jowe Head in 1977 o 2 Lps with printed inner bags in extra wide spine LP sleeve with cover sticker

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

Smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on side B in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Snap up the mid-century college party in a box that is PP006 — and hope your tables don’t get too scuffed up from people dancing on them. The fun that The Teacher Haters had in making these tracks is all here and available to you — whether you want to go on a nostalgic trip through a 60s coed party, or host your own shindig where dancing is mandatory. Get your hands on this disc before the regents show up.

Fango’s debut EP for Running Back draws a map of the Italian’s wonderful world of sounds. To help music journalists in their ongoing search for new genres, it’s a planet that consist of techno punk, ebm house and outsider disco.
Fed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this Ep consists of the irresistible uplifting vibe that is Sarcosuco and its sweet and melancholic counterpart Diplodoco, while the slow-motion rave Dimetrodonte and Gastonia mirror Fango’s darker and tool-like character. All in all, it’s like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.

»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two co-founders of the CRTTR collective and label during an artist residency in May 2022 in their home town of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole.

Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques.

These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation.

This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.

Get ready to rock out with Ned's Atomic Dustbin 'Session'

This high- energy band is known for their unique blend of punk, rock, and indie sound. Formed in Stourbridge, West Midlands, in November 1987, the band is best known for the tracks 'Not Sleeping Around', 'Happy' and 'Trust' all featured on this explosive Live album. Don't miss your chance to experience their electrifying performance.

T4T LUV NRG presents “Name It”, the latest album by Oakland’s Bored Lord, aka DJ Daria. The internationally beloved producer and DJ has created a truly stunning album of impeccably produced and mixed work, each song an enticing chapter in a complexly woven story about love. This album of uninhibited, hook-laden tracks conveys a narrative of love that is not only romantic and personal, but also communal and familial— a love that refuses to limit itself to just two people, but instead spills forth into the world, embracing everyone open to its power. With her emotive, tenacious album, Bored Lord reminds us that to truly allow yourself to be enveloped in desire, you have to endure the pain that comes alongside it. You have to adapt and stretch yourself in order to experience the immense growth love has to offer. You have to believe there's more to this world than suffering and isolation. You have to look within and accept whatever you find, even if it is ugly or difficult. Love is the peace you find amidst the chaos of living, and it doesn't just fall into your lap. You have to want it. You have to be ready for it. And if you are ready, you have to name it.

As a producer known in no small part for her edits, Bored Lord presents “Name It” as a work undeniable in its artistry, completely authentic in its messaging, and absent of the industrial notion of production. The songs on “Name It” have instant hooks and each is deeply inspired by the genres Bored Lord loves—broken beat, drum n’ bass, jungle, UK bass, Florida breaks and house among them—but rather than simply reproducing, these tracks expand each genre beautifully. Daria’s technique is decidedly hardcore, with samplers, romplers and a bone dry aesthetic, each song and sound all her own. In the artist's own words “I want the industry people to be confused while the ravers understand the very moment they press play. I want to challenge everyone to name it.” And we expect that indeed they will, play after play after play. Now, close your eyes and believe there is more, more, more….

repress !

Since bursting onto the scene with their multi award-winning compilation ‘The Stanton Sessions’ back in 2001, the Stanton Warriors irresistible and inimitable sound has consistently remained the soundtrack to some of the world’s biggest and best parties; from East London warehouses, Miami boat parties and illegal Detroit raves, to smashing up the stages of Coachella, Glastonbury, Burning Man and Ultra, selling out global tours, topping DJ lists and arguably having the largest number of band logo tattooed fans in the world!!

In the studio, Bristol’s Mark Yardley and Dominic Butler have honed a trademark, uncategorizable sound that is at once all their own, but also utterly indefinable, leading to high-profile releases on XL Recordings, Fabric, Cheap Thrills, Central Station and Universal, alongside official remixes for everyone from Daft Punk and Fatboy Slim, to MIA, Gorillaz and Danny Byrd. This phenomenal output and remarkable longevity have ensured the Stanton Warriors legendary status amongst not only their fans, but also their peers.

Stanton Warriors 2015 album ‘Rebel Bass’ featured a host of new & exciting bass artists such as Cause & Affect (aka Chris Lorenzo & Kane), which went to #1 in the Apple Music general album chart and Top 10 in the iTunes dance album charts in eight countries.
They also continued their sold-out tours across the USA, Europe, Australia and the Far East, collaborations on Claude Von Stroke’s Dirtybird label and a slew of exciting releases on their own tastemaker label Punks.

‘Rise’ is Stanton Warriors strongest album to date, with all twelve tracks ready to set dancefloors alight. Stanton Warriors have called on some of the scene’s most exciting and diverse artists to collaborate with – across hip-hop, grime, house, dancehall, drum’n’bass. Featured artists include Foreign Beggars, Stush, Taiki Nulight, Sian Evans, Ami Carmine, Keith Thompson, Lily McKenzie, Danny Dearden and Scarlett Quinn. Each track on ‘Rise’ showcases Stanton Warriors’s trademark rolling breakbeatbass sound.

Also included in the package on disc 2 is their ‘Rise DJ Mix’ that contains a selection of new remixes of tracks from their previous albums, releases from their own label Punks artists inc Plump DJs, Chris Røyal, Cosella & Vanilla Ace & tracks from Rise, remixed by the Punks family, plus an unreleased Stanton Warriors remix of Danny Byrd – Salute.

The vinyl format is a double LP cut onto heavyweight vinyl.

They remain fresh, original and relevant, obstinately dancing to the beat of their own drum, helping to pave the way for new talent, proudly ploughing their own genre for twenty years and as the new album title points to, still continuing to rise.

On their long-awaited debut album Morning Ritual, Chartreuse have found the light in the darkness, sifting through the ruins of an anxious age in order to find the hope in it "There's a strange optimism in pulling all of your negative traits out, revising and reviewing them, and then putting them back, in order," says Mike Wagstaff, of the band's intricate, gorgeous songwriting. Chartreuse resist easy definition. The Black Country four-piece have been close friends since they were at college. In 2013, Mike and Harriet Wilson started playing folk music together ("We were not good at all," laughs Harriet), and a year later, they added a rhythm section, with the addition of Mike's brother Rory on drums and Perry Lovering on bass. Mike and Rory live together in Kidderminster in the West Midlands, while Harriet and Perry live just ten minutes away. They are very close friends and the songwriting is an extension of this intimacy. Their songs might find Harriet singing Mike's lyrics, or vice versa. "It takes a lot of trust, because the songs are not short of emotion," says Harriet. Morning Ritual has been a long time coming, with Chartreuse honing their craft over the course of four well- received EPs and the standalone 2022 single 'Satellites', a collaboration with Orlando Weeks. Having experimented with partly producing their previous EPs, Mike stepped up as sole producer on 2021's 'Is It Autumn Already?'. But they had big decisions to make. Should they build on the tracks from the last EP, and turn it into a full-length album? Would they work with a producer, or would Mike do it himself? They had more than enough new material to start an album from scratch, and Mike was ready to produce it. The framework for Morning Ritual was starting to take shape. "It was a natural progression," says Perry

180g limited edition on high-definition premium vinyl for super fidelity the great Nina Simone's style encompassed a broad range of musical genres ncluding jazz, blues, folk, R&B, gospel, pop, and classical music. This collection ompiles some of her best performances of jazz ballads and blues, the album's A ide programmed to feature the ballads, and the B side for the blues. mong the many highlights are her classic readings of the ballads 'I Loves You orgy', 'Little Girl Blue', and 'Black Is the Color of My True Love's Hair', as well as lues such as 'Trouble in Mind', Billie Holiday's 'Fine and Mellow', and 'Nobody nows You When You're Down and Out'. s a bonus, one of Simone's biggest hits, 'My Baby Just Cares for Me', has been dded to this essential collection.

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz will release a remastered edition, on Carpark Records.

On their debut full-length, Western Massachusetts' Speedy Ortiz manages a bit of magic by conjuring the spirits of classic American indie rock, while twisting those ghosts into new shapes. It's easy to hear the influences of Helium, Jawbox, and Chavez on this album, as well as nods to their contemporaries including Grass is Green, Pile, and Roomrunner. Sweet vocal harmonies run up against gnarly distortion, aided by basic, chunky bass parts and heavy, fill-laden drums.

The album was recorded in a few days in November at Justin Pizzoferrato's (Dinosaur Jr., Chelsea Light Moving) studio, Sonelab, a huge space in an old factory in Easthampton, Mass. The sessions went from very early in the day until very late at night, with the band taking its time to experiment. Pizzoferrato's collection of old distortion pedals were utilized on both the record's guitars and vocals.

The theme of the occult and the supernatural runs deep through Major Arcana, inspired by singer-guitarist Sadie Dupuis' reading on black magic. Dupuis' sometimes knotty and abstract lyrics bring to mind fellow wordsmith Stephen Malkmus, while referencing horror film tropes, chemistry, and neuroscience. Major Arcana's literal translation is 'major mysteries,' a phrase from tarot cards. 'I don't write in a narrative way and am more concerned with use of language than meaning,' Dupuis says, 'so I like the open-endedness of the title and the way it invites interpretation.'

After too much time freelance writing and watching re-runs in a windowless Brooklyn basement, guitarist and songwriter Sadie Dupuis left New York City for the wilds of Northampton, MA in order to pursue a master's degree in poetry. In doing so, she began Speedy Ortiz, a self-recorded lo-fi project named after a minor character from the Love and Rockets comic series. Speedy Ortiz soon became something else entirely as bassist Darl Ferm, guitarist Matt Robidoux, and drummer Mike Falcone teamed up to form a full band, balancing abrasive noise with infectious earworms. The newly minted Speedy Ortiz quickly found an audience in the Boston DIY scene, playing frequently with their friends Pile, Grass is Green, Fat History Month, Sneeze, Krill, and Arvid Noe.

Almost immediately, the band recorded a two-song single, 'Taylor Swift' and 'Swim Fan,' with Paul Q. Kolderie (Pixies, Hole) and Justin Pizzoferrato (Chelsea Light Moving, Dinosaur Jr.), and self-released it in March of 2012. Shortly thereafter they spent a few weekends at the dingy yet atmospheric Sex Dungeon Studios in Philadelphia recording the Sports EP, a five-track, loosely conceptual 10' released that June on Exploding in Sound Records.

The creation of Major Arcana, their full-length debut, marks the evolution of Speedy Ortiz into a wholly collaborative effort. Darl leans toward basic, chunky parts, while Mike, a talented songwriter in his own right, helped arrange while also providing aggressive, boisterous drums. And Matt is a classically trained guitarist, but his experience in noise and experimental music comes through in his anti-melodic guitar solos, which counterbalance Sadie's angular, scalar guitar riffs and poppy vocals.

The end result is a band able to distill their influences and creative impulses into something at once dissonant and melodic, noisy yet undeniably pop.

God knows enough has been written about Workshop. Surely you haven't read it, but this group has been around since 1985, and what they did was this: musically quite limited, they made the music they wanted to hear, but in an ingenious way. Some played the instruments skillfully and others not so much. Something came out of it! One says: that's just the way I like it. The other one boasts: yes, I understood everything how you play here, sometimes you hit it, or sometimes you play so that the parents cry with joy. In fact, seven records were recorded, which, with the exception of the second LP, are still more than worth listening to today. Are they in danger of being forgotten?

Yes and no. What is worth listening to here has often been banned. One must bring it out again. Make attentive. Against the forgetting. These impetuous songs - just let them get close to you again and listen to them in a new context and forget all the smart-ass talk that was said about them. That means to put the self with all its reality entanglements in the pillory. This is of course not only pleasant. Bravo!