quête:don stan

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

Compilation pressed onto a collector’s LP picture disc, featuring some of the finest soul artists.

Die Veröffentlichung von TIME FADES AWAY zum 50. Jahrestag ist eine wahrhafte Würdigung einer Zeit, die die Musik für immer geprägt hat. 1973 schrieb Young Songs, die bis heute Bestand haben, und änderte kühn die Art und Weise, wie er sie persönlich präsentierte. Das ist ein Markenzeichen von ihm, das immer noch Bestand hat. Zum 50. Anniversary wird das Album am 3. November als Clear 1LP wieder veröffentlicht.

It has been five long years since the Brazilian power metal kings Angra released their last album "Ømni". was released. Now the band is finally back with new music and once again proves their exceptional position as unique as unique bands in the genre.
Angra's unmistakable sound - the fusion of classic-virtuosic power metal with progressive with progressive elements and rhythms - comes to its perfect perfect development and makes "Cycles Of Pain" a highlight for every a highlight for every fan of sophisticated,
first-class metal.
The long-standing line-up of the band, which was founded in 1991, is joined has been joined since 2013 by the former Rhapsody of Fire singer Fabio Lione, who again delivers an incredible performance. incredible performance. Mix and mastering of "Cycles Of Pain" were once again done by Dennis Ward (Helloween, Magnum, Firewind).

It has been five long years since the Brazilian power metal kings Angra released their last album "Ømni". was released. Now the band is finally back with new music and once again proves their exceptional position as unique as unique bands in the genre.
Angra's unmistakable sound - the fusion of classic-virtuosic power metal with progressive with progressive elements and rhythms - comes to its perfect perfect development and makes "Cycles Of Pain" a highlight for every a highlight for every fan of sophisticated,
first-class metal.
The long-standing line-up of the band, which was founded in 1991, is joined has been joined since 2013 by the former Rhapsody of Fire singer Fabio Lione, who again delivers an incredible performance. incredible performance. Mix and mastering of "Cycles Of Pain" were once again done by Dennis Ward (Helloween, Magnum, Firewind).

Die Veröffentlichung von TIME FADES AWAY zum 50. Jahrestag ist eine wahrhafte Würdigung einer Zeit, die die Musik für immer geprägt hat. 1973 schrieb Young Songs, die bis heute Bestand haben, und änderte kühn die Art und Weise, wie er sie persönlich präsentierte.

Das ist ein Markenzeichen von ihm, das immer noch Bestand hat. Zum 50. Anniversary wird das Album am 3. November als Clear 1LP wieder veröffentlicht.

Classic Wailers recordings done with Lee Perry, early '70s. Tuff roots rhythms with early stripped down versions to later well known tracks such as 'Sun Is Shining,' 'African Herbsman,' 'Keep On Moving' and many more.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

2CD DIGIFILE/2LP MIT RICHARD HAWLEYS BELIEBTESTEN TITELN.

Die erste Best-Of-Sammlung von Richard Hawley (Pulp, Longpigs), die seine über 20-jährige Solo-Karriere umspannt, enthält Titel der für den Mercury Prize nominierten Alben Coles Corner (2005) und Standing at
the Sky's Edge (2012).
Kuratiert von Richard Hawley und Colin Elliot. Enthält außerdem eine brandneue, exklusive Bearbeitung von Not The Only Road, die in der Fernsehserie The Full Monty zu hören war.

Im Vorfeld der Aufführung von Standing at the Sky's Edge im Londoner West End (23. Februar) und des brandneuen Albums im Jahr 2024 wird sich "Now Then" sowohl auf das alte als auch auf das neue Publikum von Richard Hawley konzentrieren.

"Now Then" erscheint als Doppel-CD im Digifile (32 Songs) und Deluxe-Doppelvinyl im Gatefold Sleeve (22 Songs) mit halb schwarzem/halb blauem sowie halb weissem/halb blauem Vinyl.

Unzählige wollten Thomas Rainer aufhalten, ihn stürzen und haben alles getan, um ihn Dreck fressen zu sehen. Sie belächelten ihn für seine Vision, für seinen grenzenlosen Willen, seinen Herrschaftsanspruch erbauen, zu untermauern und zu mehren. Doch das ist Vergangenheit. Längst pflastern sie als besiegte Gegner seinen Weg, hängen als Trophäen an den Wänden seines Hauptquartiers. Er kam, sah, siegte - und führt nun seinen endgültigen Triumphzug durch die Straßen der gefallenen Städte. "Veni Vidi Vici" lautet der Name des Kreuzzugs, mit dem Thomas Rainer Mauern einreißen, Armeen auslöschen und ganze Reiche zu Fall bringen wird. Mit ihm oder gegen ihn - etwas anderes lässt dieser Tanzdiktator nicht gelten. Überlege dir gut, ob du an seiner Seite durch ein Meer aus willigen Gespielinnen und rauschender Sünde waten und dich selbst so fühlen willst wie der berüchtigte Caligula - oder ob du als Verlierer von der Geschichte vergessen werden willst.
NACHTMAHR haben ihre "Kriegserklärung" propagiert - und liefern mit dem gleichnamigen Song nur einen von vielen Beweisen für die Überlegenheit dieses Club-Kolosses. Doch das ist erst der Anfang: "Tradition" wird mit seinem infernalischen Maschinen-Beats gleich hinterhergejagt, "Mütterchen Russland" ist voller marschierender Wucht und russischer Epik, das langsame, wogende "Die letzten Dämme" oder die allumfassende Industrial-Vernichtungswaffe "Hoffnung" als zertrümmernder Schlusspunkt erweisen sich als übermächtige Attacken zeitgemäßer Clubkultur. Geschmierter denn je läuft seine Industrial Infanterie, unter der stolz in die Höhe gereckten Standarte des Austrian Imperial Industrial versammelt der Trümmergeneral ein einschüchterndes Arsenal schwerer Waffen, die jeden Club in seine Einzelteile zerlegen werden und die Konkurrenz aus der Geschichte fegen werden wie eine lästige Fliege.
Die Welt wird brennen. Entzündet an den Überresten der untergegangenen Gegner, spiegelt sich im Widerschein dieses Triumphs der musikalischen und körperlichen Exzesse eine neue Weltordnung des Industrial, ein in Stein gemeißelter Beweis für die Überlegenheit von NACHTMAHR. Dabei ist es bedeutungslos, ob der Herr der übermächtigen Beat-Brigade flirrende Industrial-Exzesse, donnernde EBM-Rammböcke, schleppende Rhythmen oder noisigen Terror in die Schlacht schickt: Das Ende wird stets dasselbe sein, NACHTMAHR werden das Schlachtfeld stets als Sieger verlassen. Den Gegnern schallt es in den Ohren, die Frauen flüstern es andächtig: "Veni vidi vici" - bis in alle Ewigkeit.

When punk arrived in late 1976, the scene acted as a catalyst for an explosion of independent labels which swiftly sprung up around the UK. Named after a classic track by Manchester’s The Drones, ‘Just Want To Be Myself’ boasts classic sevens on imprints such as Small Wonder, The Label, Rough Trade, Dining Out, Deptford Fun City and Cherry Red (all London), Zoom (Glasgow), Attrix (Brighton), Heartbeat (Bristol), Good Vibrations (Belfast) and Bent (Manchester).

Many of the individuals and bands featured would later enjoy success in various incarnations – for example, The Pack mutated into Theature Of Hate, The Outsiders’ Adrian Borland attracted acclaim with his band The Sound, ‘O’ Level’s Edward Ball made an impact with various acts including The Times and Leyton Buzzards evolved into pop combo Modern Romance!

Pure Hell and The Electric Chairs’ Wayne County were American but eligible here because the tracks were recorded in the UK

EVERGREENS feiert Streisands 60-jähriges Jubiläum als Künstlerin bei Columbia Records. Das Album enthält 22 Songs - 1 Song von jedem Studioalbum, das sie veröffentlicht hat. Die Songs wurden von Barbra als einige ihrer Lieblingssongs während ihrer Karriere ausgewählt. Keiner dieser Titel ist auf früheren Streisand-Compilation-Alben erschienen. Die für EVERGREENS ausgewählten Lieder haben nichts mit Verkaufszahlen oder Auszeichnungen zu tun. Sie wurden von Barbra ausgewählt, um ihre emotionale Verbindung zu diesen Melodien und Texten zu veranschaulichen, da jeder von ihnen einen besonderen Platz in ihrem Herzen und in ihrer Erinnerung einnimmt.

Anniversary Edition. Colour in colour Vinyl. Plus Booklet und Insert. Wenn die Zeiten hart sind oder man sich zermürbt fühlt sehnt man sich nach einem Leben in vollständigem Frieden. Ein Leben, in dem es keinen Streit, keine Auseinandersetzungen und keine Lügen gibt. Ein Leben ohne Enttäuschungen und eines, in dem das eigene Handeln keine Konsequenzen hat. Manche würden es eine Fantasiewel" nennen. Das belgische Trio Brutus nennt es "Unison Life" - eine Formulierung, die auch den Titel ihres dritten Studioalbums ziert. "Unison Life" handelt von all den Dingen, die einen von vornherein zermürben. Es geht um die Abscheulichkeit, den Schmerz und die mutigen Taten, mit denen man das alles übersteht. Das Album beginnt mit einem Porträt der Zufriedenheit und entwickelt sich von dort aus weiter, bis es in die Schlacht zieht und die Frage stellt, was wirklich zählt. In ihren eigenen Worten: "Is this Unison Life a hoax? Or a quest?" Auf Unison Life zeigen sich Brutus von ihrer bewussten Seite. Sie haben sich mehr Gedanken über den Sound gemacht, was sich auch auf das Artwork (produziert von Mulders) und das Musikvideo zu "Liar" auswirkt. Da Brutus in den letzten Jahren nicht auf Tournee gehen konnten, haben sie ihre gesamte Energie in "Unison Life" gesteckt. Das Ergebnis ist ein eindrucksvolles Beispiel für eine Band, die Grenzen überschreitet und auf dem Höhepunkt ihres Könnens ist.

Mr. K’s series of edits on Most Excellent Unlimited is nothing if not eclectic, and utilitarian — as befits a veteran DJ of Danny Krivit’s stature. For our latest, Krivit pulls two disparate gems out of his bag of tricks and fits them neatly on a single 7-inch piece of vinyl.

In 1972 Ralph Bakshi’s landmark underground animated film Fritz the Cat was released, featuring a soundtrack performed by an all-star cast of San Francisco area musicians associated with the Berkeley-based Fantasy label. Perhaps Fantasy’s biggest artist was the vibes player Cal Tjader, who debuted in 1955 and was still going strong when songs were gathered for the movie’s soundtrack nearly twenty years later. Rather than simply using one of his older, already-recorded tunes, Tjader laid down a completely new version of his earlier hit record “Mamblues.” This time however, he swapped his standard latin percussion accompaniment for a can’t-miss rhythm section of Bernard Purdie, Chuck Rainey, and Arthur Adams. The result was a searing funk workout that took the latin jazz classic to new heights. Mr. K subtly warms this one up by adding a hint of reverb and bringing the tempo down a notch, pushing things from frenetic to funky, and firmly into friendly mixing territory for the DJs.

For our flip side, we turn to an unsung jewel amongst Philadelphia’s many contributions to disco music. Executive Suite released a series of singles in ’74 and ’75 that were recorded at the famed Sigma Sound Studios and had ties to a number of better known disco luminaries, among them the holy trinity of Baker-Harris-Young and, on “You Believed In Me,” the mighty Patrick Adams. Along with his longtime associate Stan Lucas, Adams garnished the vocal quartet’s composition with a driving arrangement and epic, soaring strings. The combined effect produced a vibrant, uplifting club cut that echoes the positive spirit of Curtis Mayfield’s “Move On Up” while being altogether its own thing. For our latest release Mr. K focuses solely on Adams’s instrumental section, returning repeatedly to that addictive string riff and creating a propulsive rhythm track that just doesn’t quit. And we don’t want it to!

As always, these connoisseur’s choice cuts have been remastered and pressed to Most Excellent Unlimited’s standards, and are primed and ready on 7-inch for DJs and home listeners alike.

Stand by your friends that are hurting. That’s what New Jersey power punks Teenage Halloween do
through soaring arrangements of melodic angst, wracked vocals that insist “I love you so much I would
die for you”, and passion-packed two-minute dispatches tackling topics from gender euphoria, to state
abuses, and an eternal quest for mental wellbeing. The results are potent punk vistas that document
young queer life at the edge of America. In February 2023, the group headed into Headroom Studios
in Philadelphia, PA, under the guiding hand of producer Joe Reinhart (Hop Along, Beach Bunny,
Joyce Manor), and tracked the 13 dispatches on isolation, uncertainty, and hope for better days, that
make up Till You Return. This second full-length outing (due for Oct 20th release via Don Giovanni)
finds the band, which operated as a ‘rotating cast’ in it’s early years, now firmly entrenched as an
essential four-piece comprised of Henderiks alongside Eli Frank (guitar, vocals), Tricia Marshall
(bass, vocals) and Peter Gargano (drums). The quartet maintains the vital energy of their previous
incarnations but brings an even more focused punch to the arrangements that leaves greater room for
Henderiks’ lyrics. Fans of the band will also have noticed the creative assent of Marshall who takes
the vocal lead on multiple songs that have become defining features of the band’s recent live shows
and which bring a fresh new viewpoint to the band’s ongoing sonic mission for a more equal and just
world.

Timeless. A voice, once heard, forever recognized. Like Edith Piaf, or Patsy Cline. Not that Jill Barber sounds like them, but she has the kind of voice they had. Unmistakable. Somehow so connected to
the heart, that the song comes clear and true to the listener, naffected, unsullied by fashion, untouched by commercial necessity. It is a voice that stops time. And the songs. Great songs need an
underlying truth, even wisdom. Jill’s songs don’t sound “written”. They sound like standards, like they were always there, waiting for her voice to take full flight. For those that believe they don’t write songs
like they used to, there is new hope for old romantics: On Chances, Jill Barber takes a giant step forward from the typical confines of the singer-songwriter and delivers an album of original, fully orchestrated songs that are often mistaken for classics. The moment the music starts you are taken back to a time where music was romantic, where it dwelled in beauty, and was full of life.

With Chances, Jill has aligned herself with a talented array of performers in capturing the classic sound of a bygone era. Outside Music is proud to reissue Chances for its 15th Anniversary, pressed on limited edition Orchid coloured vinyl.

Within Temptation, the renowned Dutch symphonic metal band, are set to captivate fans with their eighth studio album "Bleed Out". Bleed Out signifies a bold leap forward for the band. From contemporary, hard-hitting djenty riffs to soaring melodies displaying their symphonic roots, Within Temptation have created a sonic journey that fuses diverse musical styles and thought-provoking themes. Embracing a new era of musical exploration and lyrical depth, Within Temptation have pushed boundaries and showcased their artistic evolution, delivering a fist-in-the-air proclamation of both their moral convictions and their fearless approach to music. This is an album that is as epic as it is unflinchingly outspoken, and now more than ever, this is a band who aren’t afraid to make a stand on issues they care about.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Singer-songwriter Dora Morelenbaum is one of the stunning voices at the forefront of Brazil’s exciting new musical wave. Her sublime 'Vento De Beirada' EP takes you on a trip into the sensuous sounds of Dora's world. On first hearing her music, we were reminded of the transformational moment when we first discovered the Brazilian singer-songwriter, Joyce. The music is completely new to you, yet instantly familiar, like rediscovering a past love.

Dora is a member of the Brazilian Latin-Grammy-winning superstar quartet Bala Desejo; a trailblazing light opening up Brazilian music to a whole new audience outside of the country. 'Vento De Beirada' EP showcases a different sound to the riotous, joyful, avant-garde Tropicália sound of Bala Desejo. This solo set takes a more dream-like, downbeat, MPB stance. It is firmly contemporary, yet you can also trace the lines of influence back to idols such as Gal Costa and Maria Bethânia.

The EP is comprised of four tracks that have already garnered critical acclaim following their digital release. It starts with the tender and gentle 'Japão', which was inspired by the melodies of the legendary Japanese composer, Ryuichi Sakamoto. Sakamoto once collaborated with Dora's musician parents, Paula and Jaques Morelenbaum, when she was young. 'Dó a Dó' is drenched in lush, sweeping strings that were arranged by her father himself, and is co-written by Dora and Tom Veloso of the band, Dônica. There’s further collaboration on the EP, including production from one of the lynchpins and stars of the current Rio scene, Ana Frango Elétrico. Fellow Bala Desejo band member, Lucas Nunes, contributes towards the production, writing, and guitar with Guilherme Lírio also on production, guitar, and bass. Whilst Bala Desejo’s Zé Ibarra penned the song 'Vento De Beirada' with Lucas and Victor Vasconcellos.

The four-track EP has been cut to 12" and mastered for vinyl by Joker (Liam McLean). With crystalline beauty and a breezy sense of ease and serenity, sounding classic yet contemporary. This release serves as the perfect introduction to an extraordinary talent.

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

International Velvet is the second album by Welsh band Catatonia. It was the band's breakthrough, reaching number 1 in the UK Albums Chart.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

As for the direction of their new album, DÉCEMBRE NOIR reveal the following: "Your Sunset | My Sunrise" is the cry for inner peace set to music. A heavy heart full of tears, which threatens to plunge its bearer into the abyss at any moment. Even if this means giving up oneself, in the end only the long-awaited silence counts. It is the escape on the wings of addiction from the battlefield of never-ending depression. The approach of the band from Thuringia, Germany also reaches deep on their fifth full-time album - both lyrically and musically. This is already known from the previous records "The Renaissance Of Hope" (2020), "Autumn Kings" (2018), "Forsaken Earth" (2016) and "A Discouraged Believer" (2014). DÉCEMBRE NOIR act consistently atmospheric, gloomily tuned and open to interpretation. The underlying thoughts, emotions and intentions of the songs of the quintet are not always clearly determinable. And they don't have to be. For the nuances and forebodings set to music have a special significance in the German band's playing. What once started between doom and death metal, has developed over the years and releases to an independent, organic gloomy sound, which achieves its ominous effect space and its captivating fascination quite independently of liking or style questions. On "Your Sunset | My Sunrise", produced by HEAVEN SHALL BURN's Alexander Dietz at his Chemical Burn Studio, DÉCEMBRE NOIR again rely on melancholic as well as melodically addressed pieces that stand completely on their own and therefore captivate because they are presented so heavy, dark and atmospheric.

Dark Horse Records veröffentlicht das legendäre Live-Konzert von Joe Strummer & the Mescaleros in Acton Town Hall, neu gemastert vom Grammy-Preisträger Paul Hicks (The Beatles, The Rolling Stones, George Harrison) erhältlich auf 2LP-Vinyl und CD.

Das am 15. November 2002 aufgezeichnete Konzert war ein Benefizkonzert für streikende Feuerwehrleute und war einer von Joes letzten Auftritten (er verstarb einen Monat später). Teil des Auftritts eine Reunion mit Mick Jones, Strummers ehemaligem Bandkollegen von The Clash, der zum ersten Mal seit fast zwanzig Jahren für drei Songs wieder mit Strummer auf der Bühne zusammenkam. Es war auch das letzte Mal, dass sie gemeinsam auf der Bühne standen.

Die Vinyl ist in einer Gatefold-Hülle verpackt, inklusive bisher ungesehenen Fotos von der Show sowie neue Linernotes vom ehemaligen Feuerwehrsekretär Andy Gilchrist, der die Band bei der Show vorstellte und die Streiks anführte, die Joe unterstützte. Dies ist das erste Mal, dass das Konzert mit einer umfassenden Verpackung auf Vinyl veröffentlicht wird. Die extrem limitierte vorherige Version, die 2012 exklusiv zum Record Store Day erschien, hatte nur eine DIY-inspirierte Klarsichthülle und war das erste Mal, dass es auf CD
veröffentlicht wurde.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003.
Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats.

Some info on the background for the upcoming album, "Police Deranged For Orchestra"."Copeland explains that the “derangement” of The Police’s music “began as the score for a movie I made out of Super8 footage of the band that I had shot during our rise to glory. Film puts capricious demands on music, so I had to carve up the songs to serve the scenes in the movie, and once the scalpel was out, a whole new frenzy of inspiration from Police music began.” He shares that “delving into the multi-tracks of our original recordings and live performances revealed lost guitar solos, bass lines, and vocal improvisations that were just too cool to leave in obscurity... this discovery is what brings us to this performance: Sting’s songs, Andy’s inventions, and my impunity; all on the page for a wild ride with orchestra and unique musicians from around the world to adapt some of the most loved The Police hits for old and new audiences alike.

on Voyage is the 1987 jazz album recorded by the McCoy Tyner Trio, featuring McCoy Tyner on piano, Avery Shape on bass, and Louis Hayes on drums. The album includes original compositions by McCoy Tyner, George Gershwin’s standard “Summertime” and Irving Berlin’s “How Deep Is The Ocean”.

Originally released as a 1LP, Bon Voyage is available for the first time as a 2LP-set, including alternate takes of “Jazz Walk”, “How Deep Is The Ocean” and “Don’t Blame Me”.

Bon Voyage is available as a limited edition of 500 individually numbered copies on silver coloured vinyl and contains liner notes on the sleeve.

• Latin Freestyle was a dizzying, passionate, ultra-modern music. It was the aural equivalent of a can of thirst-quenching Quatro or a Spanish Harlem dance-off, and it became the electronically constructed bridge between disco and house.

• Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.

• Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.

• Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his
first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

--

It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

PRESSED ON ORANGE COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 1000 COPIES

2023 is the year of Too $hort at Get On Down with our 4th reissue and album number 7 in the catalog of the Bay Area legend. Shorty The Pimp was released 31 years ago on July, 14, 1992 and has not been in print since we originally reissued it on wax in 2018. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. Shorty The Pimp is also a stand out project for producer Ant Banks who did many of the beats for the project, his first working with Too $hort with many more to follow over the next decade.

20 albums and 25 years into her recording career and only now does Thea Gilmore feel enough of herself to make the self-titled album that renews her vows to music - her first love. The album is released on 6th October. The album was entirely written, played and produced by Thea. Thea Gilmore is absolutely the record she wanted to make. In many ways the record she had to make. Sustained by the very public dissection of her personal life laid bare on her last full-length release, the stunningly intimate Afterlight, Thea's hard-earned reputation as one of the most distinctive, strident and bold singer songwriters of her generation propels her to reach for new ground and this new release feels like a great leap forward into tomorrow. "That's why this is my first self-titled album," she explains. "On my last album I changed by name to Afterlight and drew a line under everything I'd done up to that point. Not to invalidate it, but to put an end to the 'before'. It was a very inward-looking record that was rooted in the darkness of everything that happened to me up to 2019, whereas this album has its head up and is eyeing the world as a challenge. It's a logical forward motion - the emergence from the shadows of Afterlight into the relative lightness of Thea Gilmore - in a renewal of my vows to music; my first love. In a weird way it feels like a debut of sorts so it made sense to make it eponymous." Across 12 tracks Thea delves into the cracks between the paving slabs of life's big themes. She's exploring the understanding that comes with experience, choosing her battles and finding out who she is now. The stunning 'She Speak In Colours' is a song for love and loss written as part of BBC Radio 2's critically lauded 21st Century Folk project; while 'The Next Time You Win' with its simple piano figures and its collage of spoken and sung lines seems to both accept the way the world works while reaffirming the pledge to stand on the frontline of change. Thea is also excited to bring the album to the stage. She will play London’s Union Chapel on 12th October and then an 11-date tour around the UK in early 2024. Full dates below. Thea Gilmore has made 20 albums since the release of her first, Burning Dorothy, in 1998. The veteran of hundreds of festivals, she has sold out shows across the globe.

Iconic Sámi – Norwegian folk artist Mari Boine is known as genre-bending trailblazer with
a taste for jazz, folk, rock, and world. Returning with a new album after five years, she has
again found something completely different inside her than anything heard before. The
album ‘Amame’, co-written with Norwegian jazz artist BuggeWesseltoft shows a different
and more mature Mari Boine, accompanied by Wesseltoft’s tender and responsive piano
playing.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Chet Baker stands alone among modern Jazzmen in having achieved major success both as a player and as a singer. On three numbers featured here; Do It The Hard Way, Dancing On The Ceiling and It Could Happen To You, Chet introduces his own version of Scat-singing following in the tradition of Louis Armstrong. The numbers selected for this LP are standards of the sort that lend themselves particularly well to what might as well be called the "swinging romantic" approach. Most of them manage to fall into that rare and attractive category of songs that everybody knows and loves but have not, as yet, been done to death by over-frequent performance.

Ben Sterling joins Damian Lazarus’ renowned Crosstown Rebels imprint, partnering with Caitlyn Scarlett for ‘Don’t Truss’.

Building on the release of arguably one of the tracks of 2022 with his remix of Tiga’s iconic ‘Mind Dimension 2’, UK hotshot and Planet X boss Ben Sterling has made 2023 another year of raising the levels, with his debut on Solomon’s Diynamic becoming an instant summer anthem in the midst of his busiest summer to date. Adding yet another huge label debut to the mix, he continues to showcase his range across house music as Damian Lazarus invites him to Crosstown Rebels for the first time, partnering with singer/songwriter Caitlyn Scarlett for ‘Don’t Truss’ on the revered imprint.

A rolling and crisp production with Scarlett’s alluring and hooky vocals at its core, it’s easy to see why ‘Don’t Truss’ has become a stand-out track from Sterling’s own sets across the globe over the past 12 months. Fusing tightly programmed percussion, warped murmurs, and a slinking, snaking groove, it’s a track crafted for the dancefloor, moving crowds unison and leaving a lasting impact. On the flip, ‘Bring Me To The Surface’ is a groove-led and bubbling cut that keeps the energy levels with skittering drums, acid-dipped basslines, resonant synths and yet more vibrant vocals.

180gr./White Vinyl (Side A) & Photoprint On Side B

Trails Of Fails (White Vinyl Standard Edition) is an album by Anouk, released in 2022. Trails Of Fails (White Vinyl Standard Edition) includes a.o. the following tracks: “I Must Walk Away”, “Something Better”, “Behind Your Words”, “Spring On A Winter's Day” and more. The album is a Coloured Vinyl, High Quality pop LP.

'MULTI-PLATINUM artist Thomas Rhett has put out a collection celebrating his 20 No. One hits in 10 short years, titled 20 NUMBER ONES out now. Set to include all 20 No. One hits so far and, “Angels (Don’t Always Have Wings),” as a bonus track, it’s a project tracing the path behind one of Country’s most vibrant current stars. As the last 10 years have seen Thomas Rhett grow into a never-static artist at the top of his game, the vinyl celebrates Thomas Rhett’s role as one of the best all-time representations of what Country music stands for – a world-class songwriter, an elite entertainer and a guy who’s down-to-earth character shows up in everything he does. Through these 21 songs on two discs, he finally stops to acknowledge it all – to take the journey in, with the knowledge that he’s already surpassed his dreams 100 times over. Radio: BBC Radio 2, Absolute Radio Country, Smooth Country, CountryLine Radio ‘Angels (Don’t Always Have Wings)’ playlisted on Downtown Country, Absolute Radio Country and CountryLine Radio Press: Maverick, CMP, Entertainment Focus, online country specialist press Socials: IG: 4.7M, TW: 2.4M, FB 2.5M

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.