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Strut continue their Patrice Rushedn original album reissue series with the definitive edition of her influential classic ‘Now’ from 1984.

Released after the global success of ‘Straight From The Heart’ and the huge hit ‘Forget Me Nots’, ‘Now’ stripped back the arrangements and explored a new sonic palette, combining top level musicianship with the evolving studio technology of the mid-‘80s. “By this time, I had built a little home studio,” explains Patrice, “and the new synthesizers and drum machines opened a lot of possibilities. A lot of the pieces on ‘Now’ started off as demos based on these instruments and we just went with it quite naturally, adding guitar, bass and drums.”

The album continued Patrice’s unerring skill in fusing intricate jazz musicianship with infectious grooves. The solid boogie classic ‘Get Off (You Fascinate Me)’ lit up dancefloors and ‘Feels So Real’ became one of Patrice’s best loved songs, an effortless mid-tempo soul stepper. The album is also celebrated for the tender ‘Gotta Find It’ and one of Patrice’s most poignant ballads, the intricate and politically charged ‘To Each His Own’.

The album marked the end of Rushen’s tenure with Elektra before a move to Arista and remains a much-referenced part of her career. “I think it was a great representation of where we were at the time and it may have been a little bit ahead of its time”, she reflects. Famously, Jimmy Jam and Terry Lewis had become fans, attending her live shows, and, allegedly, the feel of Janet Jackson’s debut album ‘Control’ two years later was heavily influenced by Rushen’s approach on ‘Now’.

Limited Edition Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart, ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige Freundschaft der beiden herauszuhören meint.

Over the course of the last two decades, of Montreal’s creative force, Kevin Barnes, has been wowing fans with their vast catalog of endlessly fascinating pop and mesmerizing live shows. Barnes’ songwriting and production aesthetic has since become iconic in the industry and has garnered massive critical acclaim in publications such as Rolling Stone, The New York Times, NPR, and Pitchfork, who described the band’s album, Hissing Fauna, Are You The Destroyer? as “ceaselessly fascinating and inexhaustibly replayable,” as well as ranking it as the #5 album of the year. Barnes’ influence on pop music is undeniable, with multiple late night TV appearances, including The Late Show With David Letterman and Late Night with Jimmy Fallon, as well as brilliant collaborations with the likes of Solange, Janelle Monáe, Jon Brion, and others. The band has also performed across the globe, with festival appearances at Coachella, Sasquatch!, Pitchfork Music Festival and others, as well as hundreds of millions of streams worldwide.

On of Montreal’s latest album, Freewave Lucifer f ck, Barnes continues to push the boundaries of what pop music can be. On songs like “Marijuana’s A Working Woman,” Barnes revisits themes of psychedelia using pulsating synths

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

The Bay Area legend – Rapper, entrepreneur and Cookies Don, Berner, is back with his 19th solo studio album, Gotti. Paying homage to the infamous mob leader, John Gotti, Berner flexes his mafia favors and assembles one of his most impressive cast of features on the 19-track album, including Future, Cozmo, Rick Ross, Nas, Jadakiss, Kevin Cossom, Rod Wave, Mozzy, Conway The Machine, Styles P, Benny The Butcher, Ty Dolla $ign, Ryn Nicole, Millyz, Wiz Khalifa, Janelle Marie & Madeline Lauer, as well as never-before-heard audio from from the mob leader’s trial. After a banner year with both highs and lows, Berner ends the year on a high note with some of his finest work.

Originally released in 2012,Tender Oppositesis TOPS’ debut album, nowcelebrating it’s 10year anniversary with a special edition LP. A lush array oftimelessly crafted songs,Tender Oppositesgathers its strength throughdelicate intimacy. These are moving songs that succeed earnestly,disregarding trends and myth-making, focusing instead on pure popcraftsmanship.

TOPS' tendency to opt towards making straight-forward, stripped down andhonest recordings lets their pop songwriting shine out in the open. With aheart frmly attached to their sleeves, their songcraft delves into theemotional intricacy of personal relationships, asking questions about powerand desire. Riley Fleck’s measured drumming and David Carriere’strademark guitar licks work in tandem and in service of Jane Penny’sunmistakable, wistful voice.

TOPS were formed in Montreal when song-writing duo David Carriere and Jane Penny decided to join forces with drummer Riley Fleck. Since then they have become one of the most influential underground bands of the past decade, creating a space for sophisticated pop music in the indie world. Their tendency to opt towards making straight-forward, stripped down and honest recordings lets their pop songwriting shine out in the open. With a heart firmly attached to their sleeves, their songcraft delves into the emotional intricacy of personal relationships, asking questions about power and desire. Riley Fleck’s measured drumming and David Carriere’s trademark guitar licks mesh with Marta Cikojevic’s lush keyboards. All these elements work in tandem and in service of Jane Penny’s unmistakable, wistful voice. The result of this mixture is a collection of four self-produced records and a handful of singles that cover a range of moods and a complex emotional realm while maintaining a groove and musicality. Soft rock infused pop hits flow easily, surrounded by their signature moody ballads.

Snatch's label boss Riva Starr steps up to the plate to deliver delectable edits of two early 2000’s club classics. First, he joins forces with Mark Broom for a Star B extended remix of Bob Sinclair - I Feel For You with the duo looping the vocal hook and juiced up beat to maximum effect. The result is a star studded, disco house stomper.

On the flip Riva goes solo, offering up a tasty-and-cheeky edit of one of Groove Armada's most successful tracks to date, 'Superstylin'. Riva’s fresh-sounding rework features most of the original’s main ingredients but tweaked and manipulated to fit around a stomping new house groove.


DJ Feedback:

Laurent Garnier - Very cool disco track

Todd Terry - always banging

Hector Romero - The classic that keeps on giving. H

Sam Divine - Dopppeee!!!

Mixmag - Star B always delivers

Kiss FM - vibes!!

Jamie Jones - the remix of superstylin is dope!!

Hot Since 82 - sick armada remix is pretty heavy oooosh…. nice work x

Fatboy Slim - LOVING that mix of 'supersylin'!

Loco Dice - I dig !

Maya Jane Coles - I did like the edit of the classic

Tiger Stripes - Classy!

Huxley - feeling the superstyling edit!!

Solardo - big

DJ Mag Spain - coooool tunes!

This new volume of the Vintage Collection is dedicated to Zouk, the music originating from the French West Indies. Let the sun shine in your stereo!

Will Stewart's new full length 'Slow Life' is a collection of songs that
capture his unique blend of varied styles and interpretations
From Montgomery's river region, up through west Alabama and over to
Birmingham, a brief stint in Tennessee and tumbling back over Red Mountain to
settle back in east Birmingham. You might call Will Stewart's sound "Central
Alabama Music." A little south of Nashville, some might say. In our current rapid
fire consumer culture of "brands" and "influencers," Slow Life invites people to
take a seat and relax for a while.
While past releases County Seat (2018) and Way Gone (2020) drew from a more
internal and reflective mood, 'Slow Life' approaches the music in a more
immediate and whimsical spirit.
Armed with his core band, Ross Parker (bass) and Tyler McGuire (drums) and
Janet Simpson (vocals) and help from Daniel Raine (keys), Stewart churns
through 10 songs of guitar driven folk rock. Recorded in the heart of east
Birmingham and engineered by Brad Timko, it's a sound that is uniquely central
Alabama.

Joining the dots between Brazilian musical culture and the sonic melting pot that is New York City, Saidera are a trio on the rise. They’ve already released a pair of critically acclaimed, carnival-ready singles on Brooklyn’s Let’s Play House label and are now ready to make their debut on Leng Records.

The band’s roots can be traced back to a trip that Lemonade band member Alex Pasternak made to Brazil in 2014. While DJing at a house party in the bohemian Rio de Janeiro neighbourhood of Sta Teresa, Pasternak was left gobsmacked when a mysterious local singer/sambista Vadinho Freire, grabbed the mic and started freestyling lyrics and melodies over his set. Realising their instinctive musical connection, Pasternak and Freire decided to work together on some music, with New Yorker Le Chev joining them to complete the Saidera trio.

Now based in Rio and California, the group’s sun-soaked sound – which they describe as “samba disco-Afro melody” – is a cross-cultural stew in which infectious Brazilian percussion, colourful synth sounds, glistening guitars and celebratory vocals combine to create magical, life-affirming musical moments.

‘Luzes Da Cidade’, their first outing on Leng, encapsulates all that’s good about the Saidera sound and the trio’s approach to music. The song is about identity and connection and in its original form is languid, loved-up and joyous, with acoustic and electric guitars, Portuguese vocals and Korey Riker’s gently breezy flute solos rising above a squelchy synth bassline and energetic, sweat-soaked samba drums.

The song’s main mix comes accompanied by a wonderful instrumental pass featuring more extensive solos by Riker, and Saidera’s own remix of ‘Luzes Da Cidade’ – an extra-percussive, breakbeat-tinged fusion of hazy deep house, energetic samba and sunset-ready synth-disco that will delight DJs and dancers alike.

To round off the EP, Saidera has delivered a brand new “Uprockin Dub” of debut single ‘Deixa Tudo Fluir’, this time with female vocals from Irina Bertolucci taking the lead. Brilliantly kaleidoscopic sonically, with dub delay-laden vocals, guitars and flutes, it’s a superb, life-affirming Balearic reggae interpretation of a now familiar favourite. If you’re not singing along with the chorus after your first listen, we’d be very surprised.

Originally released in 2012,Tender Oppositesis TOPS’ debut album, nowcelebrating it’s 10year anniversary with a special edition LP. A lush array oftimelessly crafted songs,Tender Oppositesgathers its strength throughdelicate intimacy. These are moving songs that succeed earnestly,disregarding trends and myth-making, focusing instead on pure popcraftsmanship.

TOPS' tendency to opt towards making straight-forward, stripped down andhonest recordings lets their pop songwriting shine out in the open. With aheart frmly attached to their sleeves, their songcraft delves into theemotional intricacy of personal relationships, asking questions about powerand desire. Riley Fleck’s measured drumming and David Carriere’strademark guitar licks work in tandem and in service of Jane Penny’sunmistakable, wistful voice.

The second part in a collection of stunning Persian-tuned piano pieces, cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965.

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry & song.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.









i 09: Improvisation & Avaz in Isfahan (Golha-ye Rangarang #254) feat. Marzieh




feat. Abdolvahab Shahidi

For the first time ever, T-Rock’s debut solo album, Conspiracy Theory will be available on Vinyl, CD & Cassette in time for the album’s 20 year anniversary! The album was first independently released in 2002 on CD-only through Secret Service Inc., the year after T-Rock left Three 6 Mafia's Hypnotize Camp Posse. With guest features from Kingpin Skinny Pimp, Wylecat, Area 51, Odd 1, J-Love, C.I.A., Chilly Rakin, Lyrical Child, 6ix Shot, C-Mac, Miss T., Da Crime-Click, II Tone & 240 North, this album is considered an underground classic amongst fans and critics. This special edition release is pressed on classic black vinyl (limited to 200 copies) as well as a high dispersion silver, and transparent blue variant limited to 150 copies each.

Nuovo singolo per Luca Trevisi con il suo alias LTJ Xperience.
In questo nuovo EP sono stati raccolti quattro dei più riusciti remix prodotti da LTJ dal catalogo IRMA negli ultimi anni.

I brani non sono mai usciti su vinile prima di questa pubblicazione.
Gli artisti remixati sono: Papik & Sarah Jane Morris, The Soultrend Orchestra, Black MIghty Wax e Vasquez. Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single
release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

South American Jazz & Bossanova flavours from 60s & 70s in Liguria, north west Italy. Melody sounds really close to Brazilian Portuguese and instrumental tracks smells of South American Jazz.
Nonetheless, the sound landscape clearly reflects the Italian Library Music of the time. This mingling was made possible by the commercial and cultural interconnections during the discovery of the New World: the local Ligurian language was influenced by new stimuli from the new territories and vice-versa. Moreover, from the end of the Nineteenth Century, a strong migration of Italians involved South America, with numbers comparable to the Italian migration in the USA, but less known because less represented in films or narrative.
As a result of these connections, these songs sound mellow, carioca and exotic, based on the phonetics of one of the most musical, folkloric and peculiar Italian dialects.
The artwork project is a homage to lithographs and ADV that were inspired by the first tourist and migration trips departing from Genoa towards Rio De Janeiro. The lithographs were recovered by “L’Image” an existing art gallery in Alassio, a small town in Liguria.
"Bossa Ligure" can be seen as a micro-genre and a different form and aesthetic of Brazilian music, which is unknown to many, but that we would like to make available with this collectanea. A musical and a
cultural expression which reveals a strong influence and connection to the Brasileiro sound in an unexpected territory.

Mekons + Freakwater = FREAKONS.Freakwater and the Mekons have
joined forces to sing songs about coal mining
FREAKONS, the eponymously-titled album on Fluff & Gravy Records , is the first
fruit of this visionary musical union.The Mekons and Freakwater have been
friends for decades, forged in the punk rock/ art school crucibles of late '70s
Leeds and mid '80s Louisville respectively. Both bands mined British folk and
American classic country music for three- chord songs whose lyrics fit the
nihilism or political rage or outlandish joy of the moment. Many of these songs
were about coal mining. Traditional songs about heroic union organizers, deadly
mine disasters, wailing orphans, or mining's grim history of economic and
ecological devastation fit seamlessly alongside each band's original material.
And so it is with FREAKONS.
Deep pit mines, strip mines, mountaintop removal, collapsing slag heaps. Deadly
work, poisoned water, and fantastic songs. Always fantastic songs. This is where
the FREAKONS were born, from the very bowels of the earth.
The Mekons' Jon Langford & Sally Timms and Freakwater's Janet Bean &
Catherine Irwin are joined here by the stellar string and vocal harmonies of Jean
Cook (Ida, Tara Jane O'Neil, Skull Orchard) and Anna Krippenstapel (The Other
Years, Joan Shelley, Freakwater), along with special guest, the beloved guitar
genius Jim Elkington (Jeff Tweedy, Richard Thompson, Eleventh Dream Day,
Horse's Ha, Skull Orchard, Freakwater, The Zincs).
Belgian painter Jo Clauwaert created the album's intricate gatefold cover. Images
from song lyrics and related history emerge and recede again in this gorgeously
illustrated artistic fever dream.The story of coal mining is one of ongoing pillage
and ecological devastation. It is also a story of heroic workers, struggling in
blighted circumstances to feed their families. The songs and the culture that have
risen from the mines deserve our attention. A portion of the profits from the
FREAKONS record will go to Kentuckians For The Commonwealth, a grassroots
organization dedicated to creating a better future for the Appalachian region.
Kentuckians For The Commonwealth (KFTC.ORG) works to end mountaintopremoval coal mining, and to promote political candidates who care about social,
environmental and economic justice and the transition to clean, renewable
resources

Black Stone Cherry returns with a new live album, 'Live From The Royal Albert Hall..

Y'All!', available via Mascot Records.
Taken from their sold out performance at London's world famous Royal Albert
Hall on September 21st, 2021, this release marks a new milestone for the band,
and serves as a celebration of their 20 year career. Featuring songs from Black
Stone Cherry's entire catalog, 'Live From Royal Albert Hall... Y'All!' has something
for every BSC fan.

In a two-decade career, Raymond Byron Magic Raposa has recorded six albums as Castanets, another as Raymond Byron and the White Freighter, and has worked with musicians ranging from Annie Clark (St. Vincent), Matthew Houck (Phosphorescent), and Sufjan Stevens to Liz Janes, Jana Hunter, Nathan Hubbard (Trummerflora, Cosmologic), and John McCauley (Deer Tick). Over the course of that time, his music has been called part of the New Weird America movement, freak-folk, psychedelic folk, and indie folk. Bond Wire Cur is as surreal and desolate and haunting as anything he's done. Collaborators on the album are many (Cory Gray, Erik Clampitt, Pony Domer, Jason Stinson, Lauren K. Newman, Kimba Kuzas, Ron Burns, Paula Barry, Coty Dolores Miranda, Josh Cole), yet the sound of the record is stripped-down and stark. It is a crucial chapter in his career and in ESP-Disk's Drive to Revive Weird Rock.

"The Bridge, penned in a year of global pandemic, showcases Sting’s prolific and diverse songwriting prowess, with this new set of songs representing styles and genres explored throughout his inimitable career.
All songs on The Bridge are produced by Sting and Martin Kierszenbaum, except “Loving You” produced by Sting, Maya Jane Coles and Martin Kierszenbaum. The album was mixed by 4-time GRAMMY award winner Robert Orton and engineered by GRAMMY-award winner Tony Lake and Donal Hodgson. The Bridge was mastered by Gene Grimaldi at Oasis Mastering.
The Bridge was released on the 19th Nov as a 1CD, deluxe 1CD (including poster), standard 1LP, and retailer exclusive 2LP. The Bridge is now to be released as a Super Deluxe Edition in 2LP and 2CD formats."

“The year's indisputable soundtrack pinnacle” - Peter Travers, ABC

“The year’s best film score” - The New Yorker

“Greenwood’s latest score - and the one that might be likeliest to finally win him an Oscar” - Stereogum

Jane Campion’s masterful ‘The Power of the Dog’ is the most honoured film of the year. The critically acclaimed original score by Academy Award and BAFTA-nominated composer Jonny Greenwood
has won Best Score at 13 major critics organisations and is now SCL nominated for Outstanding Original Score for a Studio Film.

This incredible score recently received the Academy Award nomination for Best Original Score, BAFTA nomination for Best Original Music, Golden Globe nomination for Best Original Score
along with loads of other nominations.

As well as the score, the film has been incredibly popular this awards season, picking up many nominations.

The soundtrack is available on digipack CD and black vinyl LP with digital download code.


Press - Features in Pitchfork, NPR, NME, BBC, The Guardian, Brooklyn Vegan.


Radio - 6 Music, Scala Radio Mark Kermode.


Online - Full online & social marketing campaign by
Lakeshore, Invada & Netflix.

The austrian musician and Live-Act / DJ Lukas Poellauer has been establishing a distinct production style with recent releases and remixes on Luv Shack Records, Fine Coincidence, Fortunea Records and Schönbrunner Perlen, melting classic house with airy, catchy melodies and mature songwriting.

“I Don’t Care” is the name of his first single for an upcoming release on Luv Shack Records and features the austrian funk Band Mary Jane´s Soundgarden and the piano player Valentin Zopp. The vastly featured musical talent of the Band makes the track oscillate between tight, club ready production and earthy, live-jazz café vibes, with the hazy voice of singer Tanja Peinsipp at its core.

For his second track Lukas Poellauer teams up with legendary singer Hubert Tubbs of "Tower of Power" fame. Tubb´s remarkable vocal timbre perfectly contrasts the light footed instrumental, as he sings about "When A Groove Is In Control". The actual groove itself is reduced and rather laid back, but Lukas Poellauer manages to bring in both dramatic and quirky overtones with a plethora of mallet, brass and string melodies.

On the flip, Patrick Pulsinger & Sam Irl deliver a fabulous dub rendition of “I Don’t Care” with a mad wobble bassline and classic reggae stabs, sitting comfortably between Grace Jones’ electronic tango and the hazy studio wizardry of dub emperor Lee Perry.

Luv Shack´s very own Space Echo put their spin on “When A Groove Is In Control”, opting for a cold and eerie vibe with the help of digital bell pads and a tight, stripped down four to the floor groove.

Rounding off the package, we have the Pulsinger & Irl Dub Instrumental which really makes the fantastic arrangement and mix shine even more.

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but who had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque, Lincoln Olivetti or José Roberto Bertrami (Azymuth).

We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H, one of the finest pieces of Brazilian music released outside of Brazil. The album was recorded in 1981 in Uruguay, where Maria had settled with her then husband synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. Bahia com H combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, provided by the all-star line-up of Uruguayan musicians who joined in for the recording.

First vinyl reissue, preserving the original artwork in its gatefold sleeve, fully licensed and with sound sourced from the original analogue tapes.

Additionally we include a 12-page booklet with photos from Maria’s private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo de Souteiro.

Manchester rock band Oceansize built a career and reputation of constructing sonic soundscapes from out of nowhere into the most monolithic, dynamic behemoths heard in aeons.

The band formed in 1998 and released four albums before calling it a day in 2011. They gained favourable comparisons in the press to bands like Mogwai, Tool, Nirvana, Jane’s Addiction, My
Bloody Valentine, Can and Faith No More among
others.

Oceansize challenged themselves and thus by the same token ensured the listener didn’t become comfortable while listening. And let's face it, - comfortable is, after all, boring.

‘Everyone Into Position’ was Oceansize’s second
studio album. Beggars Arkive are reissuing the
album on splattered yellow double vinyl.

The first British reggae sub-genre to achieve ‘outernational’ success and influence the music of Jamaica, lovers rock was a dominating force in the UK scene, from the mid-Seventies through to the close of the Eighties.

Developed largely as a counterpoint to the more militant style of roots reggae, the romantically-themed genre was heavily influenced by the styles of US R&B and the predominantly soulful Jamaican rock steady sound of the Sixties.

Despite the style achieving mainstream success with a number of major UK chart hits, lovers rock received scant attention in the mainstream media until the screening of Steve’s McQueen’s award-winning 2020 BBC TV series, “Small Axe”, the highlight of which was an aptly titled episode that paid tribute to the style and its impact upon British culture.

Since then, interest in the genre has continued to grow internationally and reflecting this trend comes this handsomely packaged album which is presented in 2 physical formats – 2x LP and 3CD.

Comprising the most popular and influential recordings in the style, the collection includes works by such legendary British performers as Janet Kay, Carroll Thompson and Louisa Mark, alongside established Jamaican reggae royalty, notably Gregory Isaacs, Dennis Brown, John Holt and Sugar Minott.

With its focus firmly upon the best-loved romantic reggae sounds of the Seventies and Eighties (whilst the 3CD set also digs deep into the archive), this essential collection of dancefloor favourites provides the most authentic representation of lovers rock sounds yet to see issue.

Matthew Bourne follows 2017's Isotach album, and recent collaborations with Keeley Forsyth and Nightports, with a collection of prepared piano pieces. Irrealis was recorded in a single session, each take played as live without any overdubs. Having taught himself the basics of prepared piano by throwing confectionary into his school's instrument, elements of these experimentations played a key role in Bourne's early performances. This culminated in an infamous performance piece which saw the explosive musical demolition of an upright piano with a sledgehammer. Far from the staid academic process the discipline is often approached with, Irrealis sees a restless improvisational musician explore the possibilities of his instrument with a box of nuts, bolts and Blu-Tak, and a sense of playfulness and spontaneity.

After releasing their 'Kerrang Top 50 Album of 2020' & seething debut
album 'Paradise', Scotland's Rock'n'Roll 3-piece Cold Years were about to
reap the fruits of their labour touring the world spreading their 'fist in the
air' punk rock anthems when the world came to a holt
While for many this kind of obstacle would have stopped them in their tracks but
not Cold Years, the time for pissing & moaning is done.
With singer/guitarist Ross Gordon relocating to Glasgow, never making any secret
of his frustrations with feeling trapped in the suffocating environs of his native
Aberdeen, inspiration for album 2 'Goodbye To Misery' was born.
Written remotely throughout the first 3 months of 2021, Cold Years found a fresh
approach to create using daily Zoom sessions to write emailing ideas back and to
throughout the second lockdown. With a change of scenery and this fresh
approach to writing, 'Goodbye To Misery' is 12 tracks born out of the want for a
more positive future rather than the self-destruction & misery of 2020's 'Paradise'.
Recorded in May 2021 the band yet again travelled south to The Ranch Studios in
Southampton to work with long-time collaborator Neil Kennedy (Creeper, Boston
Manor, Milk Teeth).
"This record is us saying you can break away from those things that are bringing
you down. It's about standing up for yourself and not letting anybody tell you what
you should or shouldn't be doing. It's a defiant statement."
Press ads in Visions, Classic Rock, Piranha (POS), Start (POS), Slam, Rocks,
Eclisped Covermount tracks in Classic Rock, Visions, Rocks Press features in
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Rock Charts for Home (single)

Die Berliner Band il Civetto ist am vorläufigen Ende einer kreativen Reise bei sich selbst angekommen, indem sie sich neu erfunden hat: Auf ihrem dritten Album »Späti del Sol« gelingt der Band mit sehnsuchtsvollen Melodien und mitreißender Gute-Laune-Musik eine neue Pop-Internationale. Fühl- und Erlebbarkeit ist auf »Späti del Sol« der Schlüssel. Die wehmütige Ballade »Barbazan« führt direkt in die Spätsommertage der französischen Pyrenäen, das elegant flirrende »Couscous mit Auberginen« lässt ohne Umwege die Aromen im Kopf explodieren, die durch ein Wechselbad der Gefühle swingende »Viel zu viel« zieht einen aus dem täglichen Hamsterrad direkt auf den Dancefloor. Der Titelsong »Späti del Sol« vertont Fernweh, Sehnsucht und das Gefühl, unterwegs zu sein ebenso wie die positive Energie einer lauen Sommernacht bei Rotwein mit gutem Essen und noch besseren Gesprächen. Kein Zufall: Der Mikrokosmos Späti hat in der Geschichte dieser Band eine zentrale Bedeutung: »Als wir früher in der U-Bahn gespielt haben, war vorher immer Treffpunkt am Späti«, sagt Sänger Leon Keiditsch, »und auch jetzt haben wir uns während der Pandemie mit Vorliebe am Späti versammelt.« Mit dieser von Liebe und Wärme erfüllten Musik haben sich il Civetto nun gewissermaßen einen eigenen Späti gebaut: Es ist ein utopischer Ort, an dem alle willkommen sind und wo der spielerisch-poetische Umgang mit Sprache und Musik den Gästen für einen Moment die Schwere nimmt - und sie sie leicht und beschwingt gen Himmel steigen lässt. Wie Friedenstauben. Da il Civetto ihre gesellschaftlichen und politischen Anliegen ebenso wichtig sind, wie die Musik selbst, sind die neuen Songs auf Deutsch getextet. Durchaus ein künstlerisches Wagnis, das aber voll und ganz aufgegangen ist. il Civetto haben für »Späti del Sol« eine derart hochpoetische, tänzelnde und sehnsuchtsvolle Pop-Sprache entworfen, dass man sich diese Lieder gar nicht mehr anders vorstellen kann. il Civetto sind auf »Späti del Sol« durchgehend »En Route«, also unterwegs, so der Titel eines weiteren, besonders gelungenen Songs, der die Bewegung mit hymnischer Kraft in sich aufgesogen hat, in der die Musiker sich zu großen Teilen der Produktion dieses Albums befanden.Es ist noch nicht so lange her, als nicht Protektionismus und Abschottung, sondern Ideen von einer gerechteren und besseren Welt die Diskurse beherrschten. il Civetto erinnern uns wieder daran - mit unwiderstehlichen Hits, zu denen man auf die Straße rennen, im Regen tanzen, wildfremde Menschen umarmen und im »Späti del Sol« Bier trinken will. Am Sehnsuchtsort »Späti del Sol« werden Visionen von einer gerechteren Welt im Geiste des Pop wahr, deshalb ist diese Musik so gut. Die Reise von il Civetto ist längst noch nicht zu Ende!"Späti del Sol" ist in Zusammenarbeit mit den Produzenten Ralf Christian Mayer (Cro, Clueso, Mark Forster) und Tim Tautorat (AnnenMayKantereit, Faber, Provinz) entstanden und ist ab 20.05.22 als CD & limitierte Vinyl & digital als Stream und im Download erhältlich und ab sofort vorbestellbar. Im Sommer ist die Berliner Band deutschlandweit auf der Späti del Sol Tour & Festivals live erlebbar.

Folklorist Derek Piotr teams with Death is Not the End for a third outing, this time plumbing the depths of every archive from West Virginia University to the British Library in search of versions of the ballad Lamkin. Following the template set by Charlie Seeger with his seminal Barbara Allen compilation, Piotr's collection outs versions of the bloody ballad from the last ninety years; most of these renditions haven't been heard by anyone but their original recordists for decades.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Culture III is the fourth studio album by American hip hop trio Migos. It was released by Capitol Records, Motown Records, and Quality Control Music on June 11, 2021. The album features guest appearances from Drake, Cardi B, Polo G, Future, Justin Bieber, Juice Wrld, Pop Smoke, and YoungBoy Never Broke Again. It is the follow-up to their 2018 album Culture II and serves as the conclusion to their Culture trilogy

L'Aventura arose from the Brazilian heat and the French romanticism. This is the history of Sebastien Tellier's fantasy childhood in Brazil, arranged by the local cult figure Arthur Verocai. A wild mixture of love, dreams, sun and landscapes.

"For this album I wanted to rewrite my childhood. I chose to place this adventure in Brazil, land of splendour and joy, with an eternal childish soul." Sebastien Tellier

The recording produced by the artist took place between Paris and Rio de Janeiro during the year 2013. These adventures brought him into Jean-Michel Jarre's, Bernard Estardy's, and Philippe Zdar's (Cassius/Phoenix) studios. Zdar who knows so well how to make the French music sound internationally sublimates the ten tracks of this album, in halfway between the elegancy and the required level of a maestro and the immediacy of a popular song.

This sixth opus was composed and writed by Sebastien Tellier. For the first time of his career, all the lyrics are written in French. Gainsbourg is not far, like a tutelary figure, Christophe as a springboard, who lets him more space to express himself, and Lucio Battisti, the Italian made him understand that singing in his native language was possible.

L'Aventura is a record of shores stretching in an everlasting restart. Naive art carried by an openheart and childish vision of the creation, close to his classic Sexuality (2008).

Edizioni Ishtar and Schema Records proudly celebrate the 15th anniversary of one of their most successful releases and artists (more than 30 million streams and 300 thousand monthly listeners on Spotify) with the first ever vinyl edition of Toco’s Outro Lugar. Produced by S-Tone Inc., this record includes fan-favourite tracks “Outro Lugar”, “Samba Noir

” and most of all “Guarapiranga”, which was chosen for the soundtrack of “Silver Linings Playbook”, a film that awarded Jennifer Lawrence an Academy Award prize as best actress in a leading role in 2013. The strings at the beginning of the title-track have also been sampled by PinkPantheress for her song “Nineteen”, out of her latest album “To Hell With It”.

Outro Lugar hasn’t aged a bit during all these years, for various reasons; first of all it benefits from the outstanding contribution of bossa nova pioneer and inspiration source Roberto Menescal, who played guitar in every track. Most of the album was recorded in Rio De Janeiro at Menescal’s studio, with the participation of some of the best ‘carioca’ musicians, especially double-bass player Adriano Giffoni and pianist Adriano Souza. All these elements gave the album exactly the taste requested by the artist and the producer: inspired from the past yet, through thorough attention, aimed at a sound at the same time fresh and modern, slightly electronic, filled with grooves perfectly blending into acoustic instruments. The second part of the recording was carried out in Milan, with some of the best musicians in the Milanese jazz scene.

The album also sees the contribution of Rosalia De Souza, singing in several tracks and standing out in “Bom Motivo” especially. French chanteuse Coralie Clément appears in “Contradição”, her own piece here re-interpreted by Toco.

Outro Lugar is an album for any kinds of Brazilian music lovers that showed the world what Toco was capable of: a refined and cultured musician, a gifted performer of a warm and smooth voice able to awaken the emotions of the most sensitive listeners.

* Legend of the Brazilian scene, DJ Andy, has assembled some of the brightest lights, and hottest rising stars of the Brazilian Drum & Bass family and brought them all together on one huge compilation!
* “When we talk about Brazil we don't just mean Rio de Janeiro, samba, beaches and football. This compilation has music for all tastes. We are 100% connected.” - DJ Andy
* With a history stretching back to the very beginnings of rave music in the early nineties, DJ Andy is a foundational figure in Brazilian drum & bass. He's seen the trends and fashions, the sub-genres and evolutions, the mainstream hits and the underground anthems. He knows the music inside-out. And, with this compilation, he's offered us an insight into the kaleidoscope of styles and the surge of talent that his scene has to offer.
* Of course, the Chronic and V faithful will have already been introduced to many of these artists. We're talking the likes of L-Side, Alibi, BTK, Critycal Dub and more; names we all recognise from the top end of the download charts and the set lists of the biggest deejays in the business. But then there are also those making their debut for the V family. Producers like Phizical and No Scandal, who are about to find a whole new, highly appreciative, audience.
* With this strength in depth available to him in the community, DJ Andy's managed to draw together 20 tracks that reflect the full range of what this music has to offer. You'll hear influences from multiple genres, you'll hear the darkness and the light, the vibrancy and the viciousness. If you thought “Brazilian D&B” was confined to one particular sound, you'd better brace yourself for some powerful suprises.
* As DJ Andy says himself, “I wanted to show that our songs can be heard everywhere. At festivals, nightclubs, at parties with friends, while travelling and even as a dinner soundtrack.”

Trojan have pulled together some of reggae's finest moments here, and importantly they come from some of the genre's most vital female talents, who can often be overlooked in favour of their more visible male counterparts. Across four sides of vinyl the likes of Millie Small, Althea & Donna, Marcia Griffiths, Phyllis Dillon, and Susan Cadogan all deservingly feature and personal sleeve notes from musician Rhoda Dakar also add real value. Big hits, unknown rarities and some brilliantly wonky numbers like Sandra Robinson's "Sensi For Sale" make this an instant NEED!

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.