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'Breakfast in New Orleans Dinner in Timbuktu' is Bruce Cockburn's 1999
album written to encourage his fans to look forward to the new century,
while learning from the past
It contains a travelogue in the album's lyrics, both to familiar places of home and
family as well as social imperatives from visits to developing countries. Through
it all is Cockburn's reflections on the dynamics between men and women and
spiritual mysticism. Musically the album features the vocals of three women who
appear throughout the album. Jonell Mosser sings on two songs, including the hit
single "Last Night of the World"; Margo Timmins of Cowboy Junkies on the sultry
"Mango" and a cover of the Fats Domino nugget "Blueberry Hill", and most
significantly for the album's consistency, Lucinda Williams appears on four tracks.
Her standout track is "Isn't That What Friends Are For", a tender song of friendship
is made more poignant by Williams' ability to convey deep emotion.
Bruce Cockburn has written more than 400 songs on 35 albums over a career
spanning 50 years, of which 23 have received gold or platinum certification. He
has sold more than nine-million copies worldwide, is a member of the Canadian
Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30
nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

When British Airways got privatized and listed on the London Stock Exchange, somewhere in Canada the first Starbucks outside of the US opened, and the Walt Disney Company signed an agreement with the French Prime Minister to construct Disneyland Paris. In the sky above southern Argentina, Equatorial Guinea, Cameroon, Sudan, Ethiopia, Djibouti, northern Somalia, and the Atlantic Ocean a hybrid solar eclipse materialized for 7.57 seconds, whilst Margaret Thatcher performed for 45-minutes on Soviet television. Some days later, The Simpsons cartoon first appears as a series of shorts on The Tracey Ullman Show, Diego Maradona wins his first Italian soccer championship with Napoli, and Eighteen-year-old West German pilot Mathias Rust lands a private plane on Red Square in Moscow. In the mists of the world's first conference on artificial life at the Los Alamos National Laboratory, the first Kentucky Fried Chicken restaurant in Mainland China opens in Beijing, and Prozac gets approved for use as an antidepressant in the United States. Much give way for the future, down there in 1987, the year that marks the title of Benedikt Frey’s freshest mini album, out into the world on R.i.O., the label he runs with some pals in the North of Berlin. It’s a dubby melancholic conqueror, wistfully, repetitive, drilling, absorbing, spooking. It makes you dream. Not particular of the year 1987. But it’s all there: The Red Square, the untouched land of the Val d'Europe, Diego on fuego. Six dark-ish tracks in trance, melancholic dub, downbeat heaven, journey music depths, all full of light and yet so dark. Futuristic dramas linked to a speculative past. In our dreams all might look different. The eclipse may last 27- minutes. You meet Neuromancer cyberpunks and blade running Ghost dogs, all taught to hack by Phrack. Cristal clear melodies, sampled voices, and veiled basslines, analogue scopes, and digital ropes, longing for a past that storm into the future. A time where deep listening widens the acoustics into infinity, while neon glows charm the light smog. Benedikt Frey been down there. Or maybe not. His latest music tells stories from the bygone, vested with the forthcoming. Come in and look out. There is nothing to see, yet so much to hear.

A double shot of Y2K digi thrillers from Sydney via Bromley electro-dub producer Jeff Dread. Part of the city’s burgeoning network of blunted bass and sound system culture, Dread worked in parallel with the likes of Sheriff Lindo, Andy Rantzen and Ali Omar, issuing two dynamite albums on Creative Vibes in 1999 and 2001.

Utilising the Atari 1020 Ste, Dread would frantically live mix up to 9 tracks direct to CD-R, echoing the same rough and ready low tech intuition as Jamaican trailblazers King Tubby, Scientist and Jack Ruby and their UK-based disciples Jah Shaka, Adrian Sherwood and Mad Professor. While unmarked discs of his indulgently durational sessions litter the archives, this plate showcases versions immortalised by two crucial compilation CDs. Wicked stepper ‘Dub The Farmer’s Daughter’ burrows the ear canal with its addictive melodica and tightly coiled acid synth lines, edited for high impact by Sheriff Lindo for his volume of Dub For the Masses (Dread would curate its successor), while ‘Out On A Limb’ hails from Just Is, a double album sequenced by legendary Sydney queer party crew Club Kooky. A bass bin creeper that was extended with horns for his second longplayer Return From Alpha One, it’s this unembellished work in progress that really stings.

With Dread’s allegiance to local sound system heavyweights Firehouse, these totally brained studio jams are tried and tested weapons, finally blasting on the sacred 7” format.

Canadian rock band Nickelback are the 11th best-selling musical act of all time with over 50M records sold. This summer the internet has been a-chatter with Nickelback posts, some even suggesting that what the world needs now is a new NICKELBACK ALBUM. And that album is here!
Nickelback will be releasing their new album Get Rollin’ on 18 November.

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. The tracks from the accompanying single (Juju Funk / Return Of Baron Samedi) have already received very strong radio responses from around the world. They have both been supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, with Nasser Bouzida discussing the rhythm influences of Return Of Baron Samedi on the Cerys show. Many specialist funk shows from Australia, Germany, France Canada and the US have also been supporting those tracks. Expect further support for this the second single Double Groovy as it is sent to radio and goes live on streaming services. This is set to be an essential 45 for funk DJs. Grab a copy of this very limited release while you can. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. This is the second single, the two sides of which will be sent to radio though Sept / October / November. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Double Groovy B Side – Trans-Pacific Express

Widely considered as one of Canada's most prolific guitarists, Steve Hill
has won a JUNO Award, the International Blues Challenge, and too many
Maple Blues Awards to count
A guitar stylist with a wide musical vocabulary, he has performed over 2,500
concerts in many configurations. For the past 10 years, he has toured extensively
throughout Canada and Europe supporting his critically acclaimed Solo
Recordings albums trilogy and his one- man band show. Heralded wherever he
goes, the guitarist, singer, drummer, harmonica player, songwriter and
accomplished producer is a musical force to be reckoned with. The acclaimed
singer- songwriter celebrates his 25th year as a recording artist with this
release.On Dear Illusion, the multi-instrumentalist shares the spotlight with a horn
section, The Devil Horns, as well as 7-time UK Blues Awards Drummer of the Year
Mr. Wayne Proctor. Mr Proctor also mixed and mastered the upcoming
record.Three years in the making, the album is without a doubt, a step up for the
artist, both in terms of maturity and execution, and is his best production to date.

CLEAR PINK VINYL

Barely disco and hardly jazz, Rupa Biswas' music the halfway point between Bollywood and Balearic. Tracked in 1982 at Calgary's Living Room Studios with a crack team of Indian and Canadian studio rats alike, both "Moja Bhari Moja" and "East West Shuffle" are the perfect fusion sarod and synthesizer. Remastered from original analogue source material and with permission and blessing of the producers and performers.

'Find A Better Way', by Canadian classic four-piece rock roots band, The
Commoners, possesses a sound tapped from the oaken belly of a
whiskey barrel
Described as "a classic rock and roll affair," the nine songs on 'Find A Better Way'
take the listener on a sonic voyage through the lives of the band, from the dusty
back roads of rural Ontario to the bright lights of the big city. Offering their own
blend of rock and roll, southern blues, and roots music, the Toronto-based fourpiece band are known for their high- energy riffs, soulful vocals, and rich
harmonies. The result is an authentic Southern-style rock experience.
The group was cobbled together over the course of a decade, adapting through
numerous obstacles to form the unit as it exists today: Chris Medhurst (vocals/
guitar), Ben Spiller (bass), Ross Hayes Citrullo (lead guitar), and Adam Cannon
(drums). Often joined by their friend, organist Miles Evans- Branagh, The
Commoners unite under a shared dream: to write, perform, and share music that
is an authentic nod to the greats who paved the way before them.
"The new album authentically embodies the rock and roll, soul, and blues rock
experience," says the band's lead singer, Chris Medhurst. "That's something we
really wanted to bring back. That's the roots. That's what we listen to."

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

Introducing Jaisiel; The Canary Islands’ answer to Bacalao. After years modestly honing his craft in Madrid and Tenerife and re-appropriating forgotten dollar bin gems for his label Ears On Earth, Jaisiel has found a home on Antinote with his shimmering ‘On the Universe’ EP. Tinged with a late 80s sound are 3 tracks of convertible top down, shirts unbuttoned, neon glow dance music.

Opening the Maxi 12” is the ecstatic ‘Talk To Nature’ replete with chirps, coos and woofs. Its catchy melody a subtle nod to ATB’s seminal anthem 9PM (Till I Come) which was once quoted as sublimating sexuality with its “purring titillation”. There is an equally evocative fluidity to ‘Talk To Nature’ found in Jaisiel’s use of pitch bent guitar, climaxing snare rolls and pounding kick drum. However it’s all very lighthearted when compared to ‘Embrace The Unknown’ a driving and mystical track filled with vocoder commands, tinny drones and synth stabs whose accompanying pointed bass line makes this the perfect song for peak time transitions. Raving into the sunrise on the Carretera El Saler is ‘On The Universe’ a contemplative and melancholic closer. Still vibrating with residual dance NRG, the central vocoder breakdown beckons you to reach for trance, to consider The Universe, as it were.

What ties together this On The Universe EP is Jaisiel’s penchant to upcycle 80s and 90s trance dance sounds in a clear and fresh flavour, distinctly Spanish, while simultaneously using just-enough-cheese catch phrases without being too cliché or pastiche. Talk To Nature, Embrace The Unknown, On The Universe…

• DELUXE HEAVYWEIGHT SLEEVE WITH SPOT-VARNISH AND ALTERNATIVE ARTWORK
• INCLUDING INSERT WITH LINER NOTES
• PVC PROTECTIVE SLEEVE
• 1994 BANK HEIST MOVIE PRODUCED BY ROGER AVARY & QUENTIN TARANTINO
• SCORE BY TOMANDANDY (THE HILLS HAVE EYES, THE STRANGERS)
• AVAILABLE ON VINYL FOR THE FIRST TIME
• LIMITED EDITION OF 2000 INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

Killing Zoe is a 1994 crime / bank heist film written, directed and produced by Roger Avary and co-produced by Quentin Tarantino. Killing Zoe follows the story of a safe cracker named Zed who returns to France to aid an old friend in performing a doomed bank heist. The film was labeled by acclaimed film critic Roger Ebert as “Generation X’s first bank caper movie”. After the production of Killing Zoe, Avary and Tarantino continued their collaboration and produced both the iconic award winning movie Pulp Fiction and several radio dialogues in Reservoir Dogs.

The score to Killing Zoe was produced by Tomandandy, aka Thomas Hajdu and Andy Milburn. This duo is best known for their horror scores like The Hills Have Eyes and The Strangers amongst others and many collaborations with great artists such as Lou Reed, David Byrne, U2 and Laurie Anderson.

Killing Zoe is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on flaming coloured vinyl and includes an insert with liner notes.

"Hello, It's You" is the Canadian pop punk outfit, Bearings, second studio album following their debut album, 2018's Blue In The Dark.

This record is a soundtrack for imaginary movies, private documentaries and unreleased TV-series. Let yourself go and unleash your fantasies. Someone calls it library music.

Repressed finally. Sometimes a single is released that reaches such dizzying heights of success that it becomes a pinnacle of the decade they're indelibly tied to. "Groove Is In The Heart" by dance-house trio Deee-Lite is one such single. The infectiously quirky, and eminently danceable track is prominently based around samples of "Bring Down The Birds" by Herbie Hancock, and "Get Up" by Vernon Burch, among many others, (Courtesy of dual producers DJs Dmitry and Towa Tei) paired with top-tier guest contributions from JB's veterans Maceo Parker and Fred Wesley, background vocals from Parliament-Funkadelic's own Bootsy Collins, and even a guest rap from Q-Tip, not to mention frontwoman Lady Miss Kier's own siren-like vocals. All disparate and disconnected elements, but ones that would come together to form dancehall greatness, and chart-topping success worldwide for Deee-Lite. "Groove Is In The Heart" managed to reach #4 on the Billboard Hot 100 chart, but excelled at its best on the Hot Dance Club Play chart, where it reached to the #1 spot. On top of its success in America it was a smash internationally, climbing the heights of the charts in the UK, Canada, Australia, and a variety of other countries. It remained in heavy rotation for much of 1990 on MTV as well. As the decades went on, "Groove Is In The Heart" would be ranked among the greatest dance tracks of all time, as well as one of the greatest songs of the 1990s by VH1, Pitchfork, Buzzfeed, and many more. "Groove Is In The Heart" was a potent single for Deee-Lite to lead with, but the album bearing it was nothing to slouch at either. The group's debut record, 1990's World Clique was released to major commercial and critical success, owing just as much to its addictive hybrid of seductive retro aesthetics, modern dancefloor flair, and esoteric, socially conscious messaging, on the back of celebratory club staples like "Power Of Love", "Good Beat", "E.S.P.", and of course "Groove Is In The Heart." World Clique would reach top 20 charts in the US, UK, and Canada in sales, as well as earn rave reviews from NME, Chicago Sun-Times, Rolling Stone, and Slant Magazine, who called it an "essential pop album." A1. Good Beat A2. Power Of Love A3. Try Me On…I’m Very You A4. Smile On A5. What Is Love? B1. World Clique B2. E.S.P. B3. Groove Is In The Heart B4. Who Was That? B5. Deep Ending

Crystal Shards is the debut full-album release from Hamilton Canada
based blackwinterwells
This twelve- track collection of songs was built over the course of two years,
comprising of previously released songs such as darkkmagician and useless,
while also introducing a more eclectic musical evolution in the form of tracks
such as vivisect and sulfur (featuring guest artists 8485 & Emotionals).

XAM Duo – the Yorkshire-based pairing of Matthew Benn and Christopher Duffin – follow-up their The A-side features a reworking of the album’s closing track, ‘Cold Stones’, by legendary electronic artist and DJ, James Holden. In one of his first remixes for a number of years, he has taken the original’s calming, comedown energy and transformed it into an epic, 11-and-a-half-minute journey, which somewhere around the five-minute mark comes right back up. “It didn't turn out quite how I expected, but as they say the sculpture is already in the stone, we just have to find it,” says Holden. “It's like the most rave thing I’ve done for ages and also not rave at all, like a blurry dream about a rave?” Whatever it is, it’s incredible, as are the two further reworkings on the B-side. The Early Years resurface after another lengthy hiatus and reframe ‘LGOC’ as a divine astral jazz / krautrock crossover, while Richard Pike (of PVT and Deep Learning, among others) turns ‘Blue Comet’ into a glitchy and discordant soundtrack to the best 1980s computer game you never played. “It’s lovely to hear three different interpretations of songs that we already tend to keep quite loose and elastic,“ says Matthew Benn. “These remixes feel like a natural extension of the music on the album, like they're from the same world, but perhaps in a different language.” Praise for XAM Duo II: “Thirty minutes of top-quality retro techno ambience and high-tech jazz” – MOJO “An elegant swirl of MIDI exotica, digital wind chimes and health-spa tones... threading saxophone through Boards Of Canada-style funk” – Uncut “Simultaneously more eclectic and more concise, the album expands, refines and folds down the twosome’s electro-organic explorations” – Concrete Islands “XAM Duo’s layered electronics pivot between the meditative and the assertive” – Clash “Made up of sweet synths, precise beats and some piano and sax, they create an atmosphere that feels as if it’s designed to accompany times of concentration and calm” – Loud And Quiet A1 - Cold Stones (James Holden Remix) B1 - LGOC (The Early Years Remix)
B2 - Blue Comet (Richard Pike Remix)

The A-side 'Bye Bye Mon Amour' is a re-recorded French language version of previous 7” 'Want You! Like a Cigarette'. The original English language version features on the B-Side. Great news for anyone who missed out on the now sold out 7” from 2020! Here's Flavia Couri with a few words about the single... “We are big fans of '60s French pop - Gainsbourg, Sylvie Vartan, Jacques Dutronc, France Gall and many more. We love the versions made in France of the British and American hits back them, like Marie Laforet’s version of Stones’ 'Paint it Black' ('Marie Douceur') and Petula Clark’s version of The Kinks’ 'A Well Respected Man' ('A Jeune Homme Bien'). So we decided to have our own Frenchy pop hit! Please welcome 'Bye Bye, mon amour'! Because nous desirons les francophone fans comme a un cigarette! Hope the French, the Canadians, the English, the Danes, the Brazilian, the whole planet, the whole galaxy enjoy it. Turn up your volume and allez-y!”

Originally released in 2014, 'For You The Wild' is Camilla Sparksss' first
studio album
Camilla Sparksss is an indie rock project carried by canadian- swiss singer
Barbara Lehnhoff. This LP is a ten- track dirty and distorted electronic storm
written without any rules, its central theme is the struggle between acting softly
and dancing like crazy. It's about life, wild life.

Thirty years into their career, Canadian indie rock perennials Sloan return
with their 13th album - Steady
Featuring the band's trademark harmonies and every band member taking lead
vocal duties on at least a couple tracks, there's no better musical commonwealth
than this quartet. You'll hear the power pop rockers like "Magical Thinking" and
"Keep Your Name Alive" to the moving, stripped-back introspective numbers like
"Simply Leaving" and "Human Nature", and the psychedelic trips of "Panic of
Runnymede" and "Close Encounters." It's hard to think of another band that has
stayed as consistent for three decades musically and still has all the same band
members for their entire career. Thirteen albums later, slow and steady wins the
race.

New Hampshire born, New Brunswick based, singer-songwriter Jason
Anderson has spent the last five years making Canada home, landing first
in Toronto before settling in Fredericton - The idea of home the places we
come from, the places we return to is a powerful theme throughout his
epic new record First Light
First Light is a compelling, cathartic listen, as Anderson's poetic lyrics and
anthemic melodies make for an inspired fit with producer Thomas Wincek.
Drawing on his All Tiny Creatues project as well as his work with Justin Vernon's
Volcano Choir, Wincek has created a huge sonic backdrop here. Anderson's
expansive narratives and sing-along hooks weave through explosive rockers like
Caps Ridge Line and Still Life, pastoral mood pieces like Looking Glass and
Streetlamps , and haunting ballads like the pensive "Tower in the Fog and
gorgeous closer Halloween. The whole thing feels a bit like indie- folk stadium
rock, as if The Weakerthans were fronted by fellow Canadian Bryan Adams. As
Anderson puts it, € What started as a text exchange between me and Tom about
Joni Mitchell in the 80s turned into something strange and awesome. What's
perhaps most awesome about the project is hearing a bedroom singer-songwriter
pushing themselves in such a fun and unexpected way. First Light is a really
special record.

In 2021, in the midst of COVID, in a desire to continue to share music and stay connected, Gauthier worked to produce collaborations with artists from all over the world, Ottoman Grüw (Canada), Nekro TFFV (Turkey), Lucas Martins (Brazil), Lethal M (Macedonia). The result is four techno tracks both melodic and powerful inhabited by voices that resonate like the whisper of a music that, whatever happens, will never stop to exist.

Never Alone is the testimony that even isolate we continue through the music to be together.

• DELUXE HEAVYWEIGHT SLEEVE WITH SPOT-VARNISH AND ALTERNATIVE ARTWORK
• INCLUDING INSERT WITH LINER NOTES
• PVC PROTECTIVE SLEEVE
• 1994 BANK HEIST MOVIE PRODUCED BY ROGER AVARY & QUENTIN TARANTINO
• SCORE BY TOMANDANDY (THE HILLS HAVE EYES, THE STRANGERS)
• AVAILABLE ON VINYL FOR THE FIRST TIME

Killing Zoe is a 1994 crime / bank heist film written, directed and produced by Roger Avary and co-produced by Quentin Tarantino. Killing Zoe follows the story of a safe cracker named Zed who returns to France to aid an old friend in performing a doomed bank heist. The film was labeled by acclaimed film critic Roger Ebert as “Generation X’s first bank caper movie”. After the production of Killing Zoe, Avary and Tarantino continued their collaboration and produced both the iconic award winning movie Pulp Fiction and several radio dialogues in Reservoir Dogs.

The score to Killing Zoe was produced by Tomandandy, aka Thomas Hajdu and Andy Milburn. This duo is best known for their horror scores like The Hills Have Eyes and The Strangers amongst others and many collaborations with great artists such as Lou Reed, David Byrne, U2 and Laurie Anderson.

Killing Zoe is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on flaming coloured vinyl and includes an insert with liner notes.

Faye Webster announces ‘Car Therapy Sessions’, an
EP of new and re-imagined songs by Webster
recorded at Spacebomb Studios with a 24 piece
orchestra. The orchestra was headed by Trey Pollard,
who was responsible for both conducting and
arranging, and Drew Vandenburg produced and mixed
the EP.
‘Car Therapy Sessions’ is available on Walnut Brown
vinyl.
“I have a vivid memory of walking around London in
2018 listening to a mix of ‘Jonny’, which I had just
written. I remember thinking ‘I want to perform this
song with an orchestra’. I truly have had my heart set
on it since then, always talking about it and figuring out
how or when to make it happen,” says Webster.
On the EP, Webster reimagines three songs from her
critically acclaimed 2021 release, ‘I Know I’m Funny
haha’, and 2019’s ‘Atlanta Millionaire’s Club’. The
songs ‘Kind Of’, ‘Sometimes’ and ‘Cheers’ take on a
cinematic and glimmering new sheen.
In addition to the title track, she also shares a
sprawling and emotional work - ‘Suite: Jonny’ - which
combines fan-favourites ‘Jonny’ and ‘Jonny (Reprise)’.
The two songs originally appeared on the ‘Atlanta
Millionaire’s Club’ tracklist, two different views on the
same narrative. Here they are presented together.
It’s remarkable how beautifully Webster’s work can
take on this orchestral treatment. Like Cole Porter, or
Judy Garland, her delicate and emotional delivery
packs a gut punch when dramatized by the EP’s
robust arrangements.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

After an exceptionally long year full of personal change and near manic levels of creative activity, Canadian musician Devin Townsend releases his follow up to 2019’s acclaimed ‘Empath’ album. Assembled from a barrage of material written during the pandemic ‘Lightwork’ represents a new level,and has ended up being one of the most accessible, yet ambitious releases of his storied career. A project that has been on Devin’s mind since he was a teen, (and flirted with throughout his career) is a more melodic and direct album with a great producer to help guide the work. Enter Garth Richardson: A Vancouver based producer with a long resume and a friend of Devin’s for many years. And the goal? To provide something beautiful, cathartic, powerful and clear. A sense of optimism and power through what can be commonly known as a ‘depressing period’. Its about strength, love, acceptance, fear, and overcoming together. Guests on the record include friends and stalwarts from his past (Anneke Van Giersbergen, Ché Aimee Dorval, Morgan Agren, Mike Keneally, Steve Vai, Elektra Women’s Choir) as well as some newer friends and faces (Darby Todd, Diego Tejeida, Nathan Navarro, Federico Paulovich, Jonas Hellborg). Available as Ltd Deluxe Orange 3LP+2CD+Blu-ray, Ltd Deluxe 2CD+Blu-ray Artbook & Ltd 2CD Digipak – all including the companion album ‘Nightwork’. Also available as standalone Gatefold 2LP+CD, Standard CD Jewelcase & Digital Album.

A band that broke before it really got started. With a rotating cast of musicians centred around a now sober ex-gold prospector Drew Thomson, Single Mothers has evolved into an art project and collective rather than a typical band with 20+ members in and out. Now with a new offering, Everything You Need, Thomson once again shows us why he is one of Canada's most talented songwriters and lyricists. Reinventing the band on nearly every record, the new album shows Thomson’s growth as a songwriter and ability to consistently create records that never lull and keep you on the edge of your seat and wanting more after every listen.

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

The 21st Attack The Dancefloor is brimming with Class-A disco boogie action.

Heading things up is the brand new Jimpster remix of Mistura featuring a tongue in cheek monologue from Canadian poet Jemini. Jimpster’s Jazz'd Up mix starts off stripped right back, based around a 303 bassline, it builds and builds and builds ending with a deep powerful version that satisfies both the soul and dance floor.

Backing this side up is Birdee’s euphoric, piano stomping, hands in the air remix of the ZR classic ‘Do What You Feel’ from 1991.

On the flip is Lakeshore Commission's latest floor burner ‘In 2 The Light’ featuring Bluey from Incognito. Shuffling Philly drums, soaring strings and a phunked out bass guitar make for a late night dancefloor heater.

Finishing off the 12” is the appearance of Destiny II’s ‘Play 2 Win’ on wax for the first time. It’s a serious menagerie of driving live bass, Prelude style boogie synths & the occasional vocoder. Add in anthemic vocals courtesy of Angela Johnson and you have one of the years most played new disco songs.

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

Das siebte Studioalbum der ehrwürdigen Rock-Institution Titus Andronicus wurde produziert von Titus Andronicus Singer-Songwriter Patrick Stickles und dem preisgekrönten kanadischen Produzenten Howard Bilerman (ARCADE FIRE, LEONARD COHEN, THE WHOLE NINE YARDS) in dessen hotel2tango Aufnahmestudio in Montreal. Mit "The Will To Live" laden Titus Andronicus den Hörer auf eine Reise von der Angst zum Glauben, von der Wut zur Akzeptanz, von der Trauer zur Dankbarkeit ein, immer auf der Suche nach dem mythischen Ideal des ultimativen Rock. In Anlehnung an maximalistische Rock-Epen von "Who's Next" bis "Hysteria" hat die Band ihr bisher reichhaltigstes, dichtestes und härtestes Album geschaffen, das die Weite und den Umfang ihres meist gefeierten Werks erreicht und gleichzeitig ihren ehrgeizigen Angriff effektiver als je zuvor gestaltet. "It may strike some as ironic we had to go to Canada to record our equivalent to "Born In The USA," sagt Stickles, "but the pursuit of Ultimate Rock knows no borders." Titus Andronicus kehrten im November 2021 auf die Bühne zurück, um den Jahrestag ihres bahnbrechenden zweiten Albums "The Monitor" von 2010 zu feiern. Die Tatsache, dass sie dieses Material vor einem ekstatischen Publikum spielten, ließ Stickles entschlossen zurück, ein Album abzuliefern, das dieselben Höhen erreichen würde, wobei sie sich diesmal weniger auf das unbekümmerte Feuer der Jugend verließen, sondern mehr auf die Erfahrung und die Perspektive, zu der eine Band erst mit tausend Shows im Gepäck gelangt. Um diesen Grad an Konzentration und Klarheit zu erreichen, musste Stickles an der Schnittstelle zwischen Triumph und Tragödie stehen. Er schreibt seine neu gefundene häusliche Glückseligkeit und seine unerschütterliche mentale Gesundheit für seine persönliche Stabilität in letzter Zeit ebenso zu wie die Ausdauer der mittlerweile am längsten bestehenden Besetzung von Titus Andronicus - Liam Betson an der Gitarre, R.J. Gordon am Bass und Chris Wilson am Schlagzeug - die alle auf dem 2018er Album "A Productive Cough" und dem 2019er Album "An Obelisk" vertreten sind. Auf der grausameren Seite der Medaille entstand "The Will To Live" zum großen Teil als Versuch, den vorzeitigen Tod von Matt "Money" Miller, dem Gründungs-Keyboarder der Band und Stickles' engstem Cousin, im Jahr 2021 zu verarbeiten. Das Ergebnis erweist sich als Meilenstein für Titus Andronicus, ein ehrgeiziges, nach vorne gerichtetes Werk, das an der Schnittstelle von Triumph und Tragödie steht, angetrieben von neu gefundenem Fokus und Klarheit, und das eine einzigartig begabte Rock'n'Roll-Band auf dem Höhepunkt ihrer kreativen Kräfte zeigt.

First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming.

Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND.

Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa. For thirty-four years — 1964 -1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focussed by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — 'a spiritual offering to my ancestors' — and plenty of Sun Ra, with whom The Natives several times shared double-bills. (Xaba was to become close with Phil Cohran and the AACM.) Freedom is a gutbucket-soul rendition of the people's anthem; Nomusa is dedicated to Xaba's new wife, a poet and CORE activist from Chicago. The thunderous finale Makhosi features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed. Hats off to Matsuli for this outstanding reissue.

"Bobby Dove is a gifted artist, and a brilliant new light on the songwriting scene - A time traveler, Bobby's songs meld genres with the touch of a master - I am a fan" – Mary Gauthier.Bobby Dove has built a following across Canada and beyond Born in Montreal, Quebec, Bobby has become known as one of the country's most dedicated troubadours, crooning live audiences with heart- worn originals, and paying tribute to the golden age of Country music. Along the road, Bobby has worked with a number of legendary players, and shared stages with artists such as Mary Gauthier, Richard Thompson, Irish Mythen, The Sadies and JD Mcpherson.

Bobby Dove's new album, Hopeless Romantic, offers eleven new
original Americana/Country songs on subjects such as unrequited love, being on the road, a haunted hotel and a hard-rocking pallbearer. Co-produced with Bazil Donovan (Blue Rodeo) and Tim Vesely (Rheostatics) at The Woodshed studio in Toronto,On, the record includes some of the finest in Canadian Country music including members of Blue Rodeo Jim Cuddy, Bazil Donovan and Jimmy Bowskill (The Sheepdogs, Blue Rodeo), and Burke Carroll (Kathleen Edwards).

The Dove is currently perched in western Manitoba, supporting the launch of Hopeless Romantic, as well as releasing The Bobby Dove Show, a virtual variety show, featuring Bobby's new songs, and interviews with renowned roots/Country singer- songwriters from across Canada. Sponsored by the Canada Council for the Arts, the show can be streamed on Bobby's social- media as well as on bobbydove.

"Dove can write rings around all but the very best of troubadours, telling stories in a compelling way…. This is very impressive indeed and I suggest you get Bobby Dove on your radar immediately." – Country Music People Magazine

"Bywater Call will be among the best new bands of the decade" - Nathalie
Leblond of Blues Quebec Toronto-based, 2020 Maple Blues Awards
nominees for Best New Artist, Bywater Call's self-titled debut album was
released in Canada, USA, Europe and Australia on November 22, 2019
The album received rave reviews across all territories and placed #1 on the Roots
Music Report Canada Top 50 for 11 straight weeks and continues to place today.
It was featured as album of the month on the IBBA chart, gained repeated top 5
placement on the International/ US Rock Blues, and top 20 placement on the
International/US Blues RMR charts.Bywater Call are geared to released their longawaited sophomore album 'Remain'. This album is for fans of roots/ blues rock
bands such as Tedeschi Trucks band, Marcus King, Beth Hart, and alike.

Line Renaud is on of the most famous french singers and cabaret review leader. Discover or re-discover her duets with Dean Martin "Relax Ay Voo" ! Originals Versions Remastered

Der Grundstein für "Quiet The Room" wurde vor zwei Jahren gelegt, als Helen Ballentine einen Song gleichen Namens komponierte und aufnahm. Im Gegensatz zu den meisten anderen Songs von SKULLCRUSHER wurde dieser auf dem Klavier geschrieben, dem erklärten Instrument ihrer Kindheit. Während Ballentine im Sommer 2021 den Rest des Albums schrieb, flogen ihr Visionen aus ihrer Jugend zu, wie die Fledermäuse vom Dachboden, während sie in der schwülen, stickigen Hitze durch ihre Wohnung in Los Angeles lief. Das Bild eines Hauses entstand in Ballentines Kopf, als sie die innere Welt ihrer Songs mit den äußeren Räumen, die sie jetzt umgab, zusammenfügte. Sie dachte dabei viel an ihre Kindheit in Mount Vernon, NY, die sie als größte Inspiration für die Platte bezeichnet. "It's like layers of tracing paper, like someone is trying to make a drawing and you're seeing the entire process", sagt Ballentine über die Entstehung des Albums. Bei der Durchsicht älterer Heimvideos fielen ihr die scheinbar harmlosen Aufnahmen auf, die durch das Fenster gemacht wurden und sie am Klavier oder beim Spaziergang im Garten zeigten. Versteckte Bedeutungen, die über die Ränder der Bilder hinausgingen, eine sich abzeichnende Dunkelheit, die außerhalb des Blickfelds schwebte (ihre Eltern stritten sich, waren auf dem Weg zur Scheidung usw.). Das Haus schaffte es nicht länger, sie alle unter einem Dach zu beherbergen. Ballentine versucht nicht auf "Quiet The Room" die oft zitierte Unschuld der Kindheit einzufangen, sondern will diese in ihrer intensiven Komplexität darstellen. Das Ergebnis ist ein atemberaubendes wie leise bewegendes Werk geworden, das die Reisen widerspiegelt, die wir durch unsere körperlichen und geistigen Sphären unternehmen, um uns der Welt zu präsentieren.