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For fans of Dokken, Motley Crue, and 80’s Hard Rock! Red Reign is comprised of singer/guitarist Carlton “Bubba” McMichael, guitarist Stevie Shred, bassist Larry Moore, and drummer Sammy Lee. Bridging the sounds of yesterday and today, the band has issued a pair of hard-hitting yet melodic releases thus far, 2021’s self-titled EP and now 2023’s full-length Don’t Look Back, both of which have been overseen by Grammy Award-nominated multi-platinum producer David Ivory (Halestorm). The title track, “Don’t Look Back” is a standout track and features guitar legend George Lynch (Dokken, Lynch Mob). Other standout tracks are “Here I Am” and opener “No Peace No Love”. Having already shared the stage with the likes of Dokken, Extreme, Jackyl, Lita Ford and Tesla, Red Reign looks forward to spreading the word further with live shows in support of ‘Don’t Look Back.’ They are a live band, with energy that is fed off the crowd and makes every show exciting and new. Red Reign is booked in and around their native Richmond, VA and expanding tour dates throughout 2023

Novo Line – aka Berlin's algorave maestro Nat Fowler – delivers a noisy, ultramarine voyage into the depths of his archaic hardware. Clawing at the periphery between leftfield electronics and avant-garde pop, Zeit is an entirely new sonic universe, eerily familiar yet utterly uncharted. A visionary synthesist, Fowler is renowned for his productions that make use of mainly '80s equipment including vintage digital synths, discarded MIDI Hi-Tech, tape delay and even an ancient Atari ST computer. But, despite the aged technology, the result is far from nostalgic.

'Ain't That a Mess' slams in with Monica Kremidi's crooning à la Little Annie Anxiety with reeving car engines and guitar-rock static fed through a pan effect. Multilayered melodies soar on 'Stein', the pounding drums matched by gliding strings, crafting that holy grail of cavernous, booming textures and uplifting euphoria that mark out the most transcendent of rave tracks. The deceptively gentle opening bars of 'Morning Star' are interrupted by a viscously squelching bassline, Cass McCombs' vocals dancing deliciously with the raw beat.

Rejecting contemporary tech-fetishism, Novo Line has a near-supernatural ability to exorcise novel sequences, weaving together a record that speaks to the ghost in the machine.

The fledgling Deeppa label is back with a seventh sublime sound, this time from Eloi who brings plenty of fresh ideas and creative sound designs to four tasteful cuts. 'You'll Keep Going' is a lush late-night fusion of noodling basslines and jazzy chords with soulful vocals and 'Karma' then gets even more horizontal in balmy chords and lazy grooves. There is a little more bite to 'Manage Your Temper' but it is still a super cuddly house sound. On the flip, 'Mental Game' offers hazy late-night reveries and 'Confusion' is a swirling mix of warm and soulful house. 'A Few More Breaks Should Do The Trick' is a jazzy and zoned-out closer. What an EP.

Spirit of Sundaze Ensemble (SOSE) is the latest evolution from London based DJ / producer, label and party series Secretsundaze. Sitting at the intersection of live music and electronic music innovation, leading contemporary musicians reimagine, record and perform a selection of tracks which have been foundational across Secretsundaze’s 20+ year history, embracing a myriad of influences from Balearic to synth pop to Brit funk.

EP 1 opens with their first single, a re-imagination of Photek’s seminal ‘Mine to Give’. Featuring Wayne Snow on vocals and garnering wide support from the likes of BBC 6 Music heads Gilles Peterson and Nabihah Iqbal, through to NTS and Worldwide FM tastemakers including Zakia, Moxie and Colleen ‘Cosmo’ Murphy, the tempo is slowed and explored in a more synthy 80s production style.

Next is their take on Joyce Sims’ (RIP) ‘Come into My Life’, moving the original Mantronix production into a more contemporary UK / Street Soul / Balearic territory.

The B-side sees them take on beloved Phil Asher (RIP) production, Nathan Haines’ stunning ‘Earth is the Place’, a classic Secretsundaze record if ever there was one. Featuring the vocals of Cherise, the SOSE version is a dance floor ready update which will appeal to all lovers of proper deep, soulful-leaning house music, one for the heads.

Closing the record is a flip of Wbeeza’s ‘Coast Spotting’. Featuring synths from the excellent Hinako Omori, this one goes in with an extended late night transcendental electronic / jazz rework with the original’s looped lead line modulating throughout the piece.

Leading musicians feature on the record including Myele Manzanza (Theo Parrish, Sound Signature), Lewis Moody (Zeitgeist Freedom Energy Exchange), Nikos Ziarkas (Theon Cross, Chelsea Carmichael), Oli Savill (Basement Jaxx), and Johnny Brierley (Fofoulah).

Following their debut sold out show at Southbank’s Centre Queen Elizabeth Hall, the Ensemble next take to the London stage at the iconic EartH Theatre, Dalston on September 21st for an EP launch party as well as a headline open-air concert at Las Dalias, Ibiza as part of Beat Hotel on September 30th.

All in all, an impressive debut showcasing the breadth and scope of this exciting new live project from Secretsundaze founder James Priestley, one to watch.

Crazy stuff! This is the record with the famous cover of a marble balanced on an asshole (!) – and it further refines Tom Ze's distinctive approach to songwriting with an over the top approach that moves far beyond the experimentation of Tropicalia! The record is incredible, with a mix of amazing songs that piece together hard percussion, spare production, quirky guitar, and some of the strangest vocals ever recorded in Brazil. Includes the tracks "Complexo De Epico", "A Noite Do Meu Bem", "Dodo E Zeze", "Brigitte Bardot", and "O Riso E A Faca".

New Order are delighted to announce a remastered 2LP black vinyl set of Substance 1987, released via Warner Music on 10th November.

Originally released via the legendary Factory Records, Substance compiled all of the band's singles to that point in their 12” versions, and specially new recorded versions of ‘Temptation’ and ‘Confusion’. The album also included the biggest selling 12” single of all time, Blue Monday, alongside other classic singles The Perfect Kiss, Bizarre Love Triangle and the band’s debut single release Ceremony.

The album is the band’s biggest selling to date, with over one million copies sold, going platinum in the UK with a Top 5 hit in True Faith which was accompanied by the seminal video, directed by French choreographer Philippe Decouflé. This 180g 2LP collection includes all the band’s singles from the original Substance album.

Confident and deliberate. Lightning in a bottle. The Rapture’s Echoes was and is a clear-eyed kick in the teeth, a band at the peak of their powers and producers with an ambitious vision making. a. point. The whole “indie crowd finally learns to dance” narrative is overwrought and irrelevant in 2023 - perhaps context is no longer king - but what remains clear is that this album, made by a San Diego punk band who had moved to New York via Seattle, and produced by the DFA in their own studio, where time and gear and ideas both good and bad were aplenty, maintains an energy and search for catharsis that could bulldoze even the most uptight. For whatever reason, it’s remained out of print on vinyl since its initial run.

Worthy re-issue of Robert Cotter's second late 70's soul album! Comprising five songs, with four of them being quite lengthy and well-structured for the dance floor, was entirely recorded in the United States by top-notch American musicians. "Timeless", a fresh and lively expression of late 70s soul music, was recorded at the Sundragon Studio in New York. This studio was home to legendary bands such as Talking Heads and Ramones, as well as a few 'disco studio groups' like Andrea True Connection, Tony Valor Sound Orchestra, and Camouflage, who recorded songs that later became considerable hits. For this reason, it's believed that the positive outcome of the album can be partially attributed to Ned Liben, an eclectic New York musician and co-founder of the studio in the Flatiron district of Manhattan, served as an exhaustive interlocutor for any artistic and technical needs. He was also the arranger of "Rock Me With Your Love", the most significant song on the album. Ned's successful mission was to capture the maximum timbral fidelity of Robert Cotter's voice using appropriate recording techniques, assisted by Michael George Ewing, a talented engineer who had previously worked on similar projects with well-known artists like Carol Williams, Maryann Farra & Satin Soul, Touch and Tony Valor. In fact, the piece features original and melodious lines, coupled with an excellent steady rhythm, spanning approximately 8 minutes and 30 seconds - in short, "a delightful sound for every beat." This ensured that the performance of the young singer-songwriter from New Jersey was faithfully reproduced without neglecting the overall musical landscape. The other four songs, arranged by Ben Lazzaroni with the same musicians as the first piece, are no exception. Best Record also delivered on the promise to Robert's older brother, Karl Potter, a powerful percussionist transplanted to Rome, for whom the roman label produced "Sweet & Salty Cha-Cha-Cha" (12", 1986). Robert Cotter, an artist about whom almost nothing has been written, is poised to gain recognition once word spreads about his album, which has been entirely remastered by Dom Scuteri and features a more congenial tracklist. This album is destined to be truly 'timeless', ready to captivate audiences around the world. Even the new cover artwork, created by Nerina Fernandez, pays homage to an artist who, despite expressing himself with elegance and simplicity, radiates energy and exudes love. "Timeless" is an inevitable revelation for anyone who missed it at the time, and for the next 40-plus years, it will remain an absolute must-listen for Robert Cotter's many fans, leaving them all in awe. In addition to the reissue on the classic glossy black vinyl, a strictly limited edition on red vinyl will be released exclusively by Clone Distribution.

Worthy re-issue of Robert Cotter's second late 70's soul album! Comprising five songs, with four of them being quite lengthy and well-structured for the dance floor, was entirely recorded in the United States by top-notch American musicians. "Timeless", a fresh and lively expression of late 70s soul music, was recorded at the Sundragon Studio in New York. This studio was home to legendary bands such as Talking Heads and Ramones, as well as a few 'disco studio groups' like Andrea True Connection, Tony Valor Sound Orchestra, and Camouflage, who recorded songs that later became considerable hits. For this reason, it's believed that the positive outcome of the album can be partially attributed to Ned Liben, an eclectic New York musician and co-founder of the studio in the Flatiron district of Manhattan, served as an exhaustive interlocutor for any artistic and technical needs. He was also the arranger of "Rock Me With Your Love", the most significant song on the album. Ned's successful mission was to capture the maximum timbral fidelity of Robert Cotter's voice using appropriate recording techniques, assisted by Michael George Ewing, a talented engineer who had previously worked on similar projects with well-known artists like Carol Williams, Maryann Farra & Satin Soul, Touch and Tony Valor. In fact, the piece features original and melodious lines, coupled with an excellent steady rhythm, spanning approximately 8 minutes and 30 seconds - in short, "a delightful sound for every beat." This ensured that the performance of the young singer-songwriter from New Jersey was faithfully reproduced without neglecting the overall musical landscape. The other four songs, arranged by Ben Lazzaroni with the same musicians as the first piece, are no exception. Best Record also delivered on the promise to Robert's older brother, Karl Potter, a powerful percussionist transplanted to Rome, for whom the roman label produced "Sweet & Salty Cha-Cha-Cha" (12", 1986). Robert Cotter, an artist about whom almost nothing has been written, is poised to gain recognition once word spreads about his album, which has been entirely remastered by Dom Scuteri and features a more congenial tracklist. This album is destined to be truly 'timeless', ready to captivate audiences around the world. Even the new cover artwork, created by Nerina Fernandez, pays homage to an artist who, despite expressing himself with elegance and simplicity, radiates energy and exudes love. "Timeless" is an inevitable revelation for anyone who missed it at the time, and for the next 40-plus years, it will remain an absolute must-listen for Robert Cotter's many fans, leaving them all in awe.

Weighing in with more of the deadly payloads that make systems weep, Alan Johnson return to Sneaker Social Club to finish what they started on 2022’s The Stillness EP.
Gareth and Tom’s sharp instinct for the fundamentals of crushing half-step pressure remain undiminished on this latest EP. Their sound palette reaches across contrasting strands of music culture, and every bar is teeming with micro details of sound design which give the tracks a living, breathing quality.

Ten Year Tonnage splits the EP open in whipcrack snares, DMZ flutes and a thick bed of sub, constantly shifting and teasing roots drops before opening up the mids and letting the low end snarl.

The chord hook on ‘Shapeshifter’ nudges towards some bold rave shapes, but there’s restraint and poise in the way the sounds get deployed. The Johnson way is one of suffocating space and uneasy tension, which obviously creates the best kind of dancefloor drama. As ‘Muay Size’ ably demonstrates, the likely lads are happy to pare a tune back to a skeletal framework and keep dancers waiting. When the pay-off comes, it’s not what you might expect, and that’s precisely why their sound is fresher than yours.

‘People Of The World’ goes even further out as it staggers and stumbles through skewed jazz samples and snatches of drums being thrown across the room. For all the splaying angles, there’s still a rock solid weight to the tune which proves Alan Johnson are more than comfortable taking things out to a weird fringe without losing their swagger.

Nach ihrer äußerst erfolgreichen Sommertournee kehren BUSH im Herbst mit Loaded: The Greatest Hits 1994-2023 zurück.

Mit über 20 Millionen verkauften Tonträgern, 1 Milliarde Streams und einer Reihe von Nr. 1-Hits ist die GRAMMY®-nominierte, mehrfach mit Platin ausgezeichnete Band ein Ausnahmetalent der Rockmusik, dessen Einfluss mit den Jahren immer größer wird. Loaded bietet einen umfassenden Überblick über das unglaubliche Vermächtnis der Band mit 21 Tracks, die fast 30 Jahre umfassen.

Loaded enthält ikonische Hits von jedem der neun Studioalben der Band sowie ”Mouth” (The Stingray Mix) vom Remix-Album Deconstructed aus dem Jahr 1997 und eine Coverversion von ”Come Together” von den Beatles, die 2012 in einer sehr begrenzten Auflage erschien.

Ab dem 10.11.2023 als 2LP und 2 CD verfügbar

After holding down a residency at Berlin’s Club der Visionaere for over a decade with their Perfumed Freedom events, dynamic duo Foehn & Jerome look to launch an exciting new record label under the same name. The Berlin based Austrian’s have teamed up for the inaugural release, wandering between tripped out minimalistic vibes with tinges of house textures spread across the record. This is “The Frisbee Of No Return”.

Join Foehn & Jerome as they evolve the Perfumed Freedom journey with their unrivalled chemistry, giving themselves and dedicated artists a platform to express themselves in the years to come.

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

Die legendären RED & BLUE Compilations der Beatles gehören seit fünfzig Jahren in jeden Plattenschrank und jedes CD-Regal. Um die Veröffentlichung des letzten Beatles-Songs "Now And Then" zu würdigen, erscheinen am 10.11. Neuauflagen mit erweiterten Tracklists im neuen Stereo- und Dolby Atmos Mix. "Now And Then" ist die Fertigstellung von John Lennons Gesangs- und Klavier-Demo aus den 1970er Jahren. Sowohl neu eingespielte Parts von Paul McCartney und Ringo Starr als auch alte Gitarrenaufnahmen aus den 90ern vervollständigen das emotionale Stück. Das RED Album („1962 – 1966“) wird mit 12 neuen Songs ausgestattet; mit dabei sind einige von George Harrisons frühesten Songs sowie Beatles-Versionen von R&B und Rock ’n’ Roll Hits, die prägend für die Band waren. Auf der BLUE Version („1967 – 1970“) werden 9 zusätzliche Songs zu hören sein, unter anderem auch "Now And Then".

Die Alben werden als Vinyl-Versionen, als CD und digital erscheinen. "Now And Then" erscheint am 03.11. als 7" und 12".

Anniversary Edition 2xLP in 25th-Anniversary-Pot-At-The-End-Of-The-Rainbow Gold, in a gatefold jacket.

When Los Amigos Invisibles first released "The New Sound" - exactly a quarter of a century ago!) - it was the ultimate party album. Time has passed, but the party has kept on- and this party music, full of non- stop funked out grooves - traveling through house, funk, acid jazz, and bossa nova, to name a few musical avenues - is a journey deep into the pants of rhythm. (We won"t even mention the old sound of the Venezuelan Gozadera).

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

Standard Sleeve singles & Engraved Wooden Box. Vinyl comes with Download Card & Custom Laser Engraved Wooden Box. Recommend If You Like: Kramer, Jad Fair, Britta Phillips, David Grubbs, Paul Leary, Rob Crow, Danielson, Eerie Wanda. “In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, it felt good. I then put the idea under a microscope and found that it felt even better when I minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..." Rings of Saturn won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips), Psalms (w/ David Grubbs), Preludes (w/ Eerie Wanda), Elegies (w/ Jad Fair & Danielson), Laments (w/ Paul Leary), and Hymns (w/ Rob Crow). Working with others is my lifeblood. I am nothing without them.” Kramer, 2023.

Assegai is an instrumental rock outfit consisting of saxophone, bass, guitar, and drums. Each member of the group brings a variety of musical influences to the eclectic entanglement that is Assegai’s distinct sound. No matter where you place yourself musically you will always find something to grab your attention in their odd type of instrumental rock. The album Water Worlds and Dry Spells is the product of a mutual pile of ideas; written sketches, memorized conversations, and cell phone recordings which were all collected in a joint cloud folder, and eventually laid the foundation of the compositions. Continuing from their 2020 album Kraal and their 2022 album 53, this release is a further development of the unity that the band have found themselves in, where jazz phrases fuse with krautrock repetition, traditional folk themes, and polyrhythmic structures. The compositions on Water Worlds and Dry Spells showcase the intensity that the band has cultivated during the last couple of years of live performances. On Water World and Dry Spells Assegai acts as the perfect live band for a future abandoned water world

Traversing the everyday in 2023, the need for ritual catharsis only grows stronger. The need to lose oneself in a force bigger than ourselves, and to venture into inner space the better to sculpt armour for the battles outside. Luckily this is the job of Bonnacons of Doom, aural soothsayers and progenitors of Trans Pennine hypnotic music. ‘Signs’ - their second album for Rocket Recordings - marks both a portent of things to come, and a roadmap of the psychic pathways to survival. This masked troupe, subsumed to mystery and amassed from across the North of England, have stepped up their mission accordingly. Building on the intimidating intensity of their self-titled 2018 debut, this series of fiercely charged mantras and premonitory transmissions is possessed of a new level of communal intensity. The band’s choice of weapons- the monomaniacal intensity of the riff, the liberating binary spirit of electronics and the incantatory vocals of ceremonial leader Kate Smith - here coalesce into a metaphysical force which stands defiant of easy categorisation. Within these otherworldly manifestations lurks solace in a place where the transcendent power of heavy amplification, cosmically aligned sonic explorations and strange forces darker and more unknowable can coalesce to cathartic and redeeming effect. ‘Signs’ marks out a supernatural landscape where ancient and modern, earthly and alien congregate in the eternal now, whilst Bonnacons Of Doom transcend era to light a path for the future

blue repress !

Nearly 15 years have passed since the original release with all tracks lovingly remastered for this new remastered edition; which also includes STL's first ever remix and sounds just as beautiful as the day we first heard it!

As Bleep so elegantly stated, "Deep, reduced dub-techno with ethereal production nuances from Stephen Hitchell and Rod Modell. Both original tracks here reveal the duo's obsession with the likes of Maurizio, Basic Channel and Chain Reaction. Features a dreamy, minimal house reduction from STL.

Transversales proudly presents the first LP reissue of “Les granges brûlées”, original soundtrack written and performed by Jean-Michel Jarre shortly after his work experience at G.R.M (Groupe de Recherches Musicales).

Probably one the first ever electronic music score, recorded with very scanty means: a VCS3 synthesizer, a Farsifa organ and three synchronized Revox tape recorders.

Director Jean Chapot, who understood immediately the interest in the gap between this hyper classical rural thriller and this groundbreaking music, let Jarre absolutely free to compose. Built up around several melodic leitmotifs, the score of “Les granges brûlées” allowed Jarre to pursue his personal research: to bridge the gap between experimental music and pop music. This deluxe reissue also contains the bonus track “Happiness Is a Sad Song” composed during Jarre's time at the G.R.M.


“Aphex Twin told me once that the original soundtrack of “Les granges brûlées” was one of his favorite records” JeanMichel Jarre

2024 Restock

Yaşar Akpençe was born in 1966 in Istanbul (Türquiye) and can be consider as one of the best world darbouka player.

He began his career in music at the age of 9 by playing Congo and carried on with the darbuka at 13 and made his musical dream come true by working with famous musicians. Akpençe has performed as a guest musician on numerous albums as well as being the founder of the percussion collective known as « Harem Group ».

Yasar has performed with almost every major artist in Turkey, spanning many genres including pop, traditional. gypsy, jazz, arabesque and contemporary.

The track « Desert Wind » was released in 2004 on his cd album « Passion Percussion » and we ‘re very proud to reissue it for the first time on vinyl. This track is a dance floor classic ! A perfect tool for DJ’s all over the world

‘Desert Queen’ stands as Adam Beyer’s fourth original release of the year, making 2023 one of the most prolific of his career.

The boss has set the standard in 2023, with a string of first-rate EPs and singles highlighting the year. From the ‘Legend’, to ‘Simulator’ with Green Velvet and more recently the excellent AI-referencing ‘Robotic Arms’ which dropped in August, he’s been on an inspired run of form.

Next up is ‘Desert Queen’, a momentous cut only finished in late September that mixes up formidable bass tones, a celestial chord-driven melody and a striking vocal effect utilising a re-sung vox from the iconic Israeli singer Orfa Hazra. This is large in every sense. We can’t wait to see it light up the Gashouder during the massive Drumcode x Awakenings party at ADE.

‘Soulful’ delivers on its promise, a richly satisfying jam imbued with bags of warmth and groove that’s primed for a variety of dancefloor scenarios.

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

The Sad Clown Bad Dub series first started as a string of limited cassette tapes and CD-R's for Atmosphere to sell exclusively on tour. Since its inception in 1999, the Sad Clown series has seen over a dozen iterations in numerous formats, including rare 4-track demos, live recordings, a DVD of behind-the-scenes tour footage, a mixtape, 7” vinyl singles and more. To this day, one of the earliest volumes – Sad Clown Bad Dub 2 – still remains one of the most celebrated and coveted installments from the series.

Originally released in 2000, Sad Clown Bad Dub 2 was a rather stripped-down DIY release – a simple CD tucked behind an illustrated cover with handwritten tracklist and liner notes. The recordings were equally as rough, consisting of a dozen raw 4-track demos that hadn't been treated to any sort of mixing or mastering. Although Atmosphere initially produced only 500 copies of these CD's to sell on the road for extra cash, the buzz and the subsequent demand from fans eventually led the group to pressing more of the CD's, this time stamp- ing the cover art with the phrase "Authorized Bootleg" as a sly nod to those who'd been ripping and sharing the files. The unpolished nature of Sad Clown Bad Dub 2 was no deterrent from the appeal of its contents though.

Generally considered an underground classic in hip-hop circles, Sad Clown Bad Dub 2 is often mentioned as one of the standout releases in Atmosphere's extensive discography. It is a deeply introspective project that explores a range of complex thoughts and emotions, counter-balanced by occasional moments of darkly humorous sarcasm and wit. Slug's writing is sharp and insightful with a knack for turning his personal struggles into universal themes that listeners can relate to. Ant's production is minimalistic, moody, even eclectic in nature, full of atmospheric textures and unconventional rhythms. This release is very clearly one of the early stepping stones in developing their unique and distinctive sound together, helping to establish their reputation as one of the most innovative and boundary- pushing acts in hip-hop.

We're excited to reintroduce the legendary Sad Clown Bad Dub 2, digitally remastered from the original 4-track tapes and available on vinyl for the first time ever!

His new EP, "Nostalgic For The Future", was inspired by an experience he had during a lucid dream that evoked a paradoxical and enigmatic feeling. Also influenced by the artists of his childhood such as Daft Punk, Alan Braxe or Jestofunk, this new project is imbued with house sounds.

By using artificial intelligence in the conception of "Nostalgic for The Future", Fhin proposes an innovative vision to tackle eternal and inexhaustible themes of music: love, the meaning of our existence or the intensity of our emotions.

• Following on from the highly successful first two editions of
Dance Masters featuring the classics mixes from maestros
Shep Pettibone and Arthur Baker, the spotlight turns to
another remix legend, John Luongo.

• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons onto a
promo and then passing them back the tape. This resulted in
him being flown to New York, and put in a studio (of his
choice) to mix and produce Melba Moore`s “You Stepped
Into My Life”. From this point everything he touched was a
hit. He went onto remix Disco classics by Jackie Moore –
“This Time Baby”, Dan Hartman “Vertigo / Relight My Fire”
and Patti Labelle “Music Is My Way Of Life”.

• However, John was not afraid of remixing artists that didn’t
fit into the disco genre and this attitude is borne out by the
tracklisting of this compilation, on which Gladys Knight and
The Pips rub shoulders with Fine Young Cannibals and
Billy Idol, and Baltimora appears alongside Banararama
and Serge Ponsar.

• “…if you played this whole thing, just put it on and didn’t
tell anyone it was me, they’d say ‘boy, what a great group of
songs this is!’” - John Luongo

• This cut down 16 track essential edition in pressed on 140g
black vinyl and features foreword by Arthur Baker and an indepth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian).

• All tracks remastered by Nick Robbins at Sound
Mastering

Kalita are proud to present the first ever reissue of Papa Yankson’s highly sought-after 1989 disco-infused highlife masterpiece 'Party Time'! Showcasing the late Ghanaian superstar at his very best, ‘Party Time’ encapsulates the blending of deep, rhythmic West African highlife with synthesizers and electronic styles that had exploded during the decade. Now, thirty-five years after initial release, and with original copies having reached grail status on the second-hand collector’s scene, Kalita brings this phenomenal record back to life, with extensive liner notes detailing Papa Yankson’s musical career.

A recipient of the Grand Medal of Ghana for his contribution to Ghanaian music, Papa Yankson was a key member of C.K. Mann’s Carousel Seven outfit during the 1970s, releasing joint albums together on the infamous Essiebons label to great success.

However, it was at the end of the following decade that Papa released ‘Party Time’, highlighting his forward-thinking musical style with its numerous hypnotic and driving up-tempo disco-soaked highlife cuts. Originally released in a small run on the short-lived Marriot Promotion label, the album features the standouts ‘Wonma Yenko Po’ and ‘Mumumde’, each showcasing deep highlife melodies, heavy drum patterns and phenomenal horn performances from the ingenious Sammy Lartey Jr on saxophone and Nana Asare on trumpet to boot.

With original copies selling for eye-watering amounts on the rare occasion that they come up for sale, the time is ripe for Kalita to celebrate this true Ghanaian 80’s grail, accompanied by liner notes and never-before-seen contemporary photos of Papa Yankson.

“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on discommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful to that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time.

Create-A-Dance: The eternal mantra for each and everyone making dance music. In this case it’s Johannes Albert delivering a fresh House EP on his very own Frank Music imprint. Yes, we are talking piano, phun-ky basslines, synth melodies and vocal statements on top. Another epic break? Included! Being known for constantly trying to find the perfect sweetspot in between House, Disco and Italo, Johannes delivers one of his most catchy EPs to date. As a bonus on the flip you shall find „Voices Traces Noises Spaces“ plus Johannes’ remix for Jean Crémant’s initial super heat „Hyperspace“. As Bryan used to say: „Don’t Stop, Don’t Stop The Dance“.

You don't know yet but you're about to discover one of Europe's unearthed diamonds: this is the shape of the industrial to come, where punk, noise, ebm and rave meet.

Minimalistic but full of detail and big dynamics with songs that take you on a journey, there's not a single second wasted on his first 12"". From energy blasts like ""De Internet se sale"" or ""Disforia"" to the dystopic and dissonant synth pop gem of ""Parking Tanatorio"", through the EBM punk of ""Foto de un Caballo"" or ""Captcha"" which was debuted at Tresor at peak time and made everyone instantly scream their lungs out!

BTW If he's coming to play in your town don't miss it, it's one of the best live shows we have seen the last few years.

Just what the doctor ordered...

Next up on Q1E2 Recordings - for the label's fifth release so far - is Dr Sud. He's a Rome-born, Berlin-raised producer whose music is a fusion of percussion-centric soundscapes and integrated jazz-leaning harmonies, drawing inspiration from diverse genres like electronica, funk, and house.

On 'Heading South', the broken beat don serves up his specialist percussive sound, folding all manner of drums into synth-smothered house. The EP explores the undulating cycle of morning into night, back into morning, inviting you to dance your way through it all.

'Brina', a word which in Italian refers to morning dew - perhaps found on a tent on the morning of a festival - represents the breaking of dawn with broken beats. The track breaks and squints into the start of the day with spacious kick drums leaving room for warm, almost familiar pads and keys.

Then, 'Life Itself' reflects daytime, revolving around an arpeggiating synth that soon makes way for luscious keys.

An excursion into percussive bliss concludes side A in the form of the magical, grin-inducing 'Evening Breath'. This, as you might have guessed, is where the listener cruises through smoothly into the final stages of the day. It encapsulates that last burst of light as the sun sets and a slight shiver of the evening air slivers up your spine.

Then, before you know it, the mysterious night arrives. Flip to that B side, and 'Tramontana' will greet you, inviting you to dance deep into the late hours.

When you're there, the chugging '3/4AM' will hit the spot like an unforgettable dance floor moment, bursting with low and slow Balearic tendencies.

Finally, 'Mondgesicht' - "Moonface" in German -fittingly concludes proceedings with deep lounge vibes. Mumbles of effortless trumpet manoeuvre through a swaying sea of percussion and delicious, wavering synth solo. The day is here again. The cycle is complete.

This is some seriously high-quality music on show here from Dr Sud. The EP is out on Q1E2 Recordings in October.

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.

Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, Drop Nineteens disbanded. They had a great run. Shared stages with Radiohead, Hole, Blur, PJ Harvey. Went from being teenaged kids in Boston to mid twenty somethings with an MTV video under their belt. So when Drop Nineteens ceased to be, Greg Ackell felt content, music was a closed chapter. That was until 2021. For the first time in nearly 30 years, Ackell felt compelled to pick up a guitar. He immediately called up Steve Zimmeran, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says. "But also the question came up: what does a Drop Nineteens song sound like today? Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light, was of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell's primarily the lyrics writer, and he collaborates with Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country. Making music together felt natural, fluid, exciting. The guitar reverb is expansive as ever. Ackell and Kelley's vocals are crystalline. "Scapa Flow," is triumphant. An excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide like clouds on a blue sky day, drums shuffle in the background, searching. Ackell and Kelley's vocals are cool toned and dreamy, bound up in a haze of reverb. It's unquestionably lovely. You could say the same for the whole of the record. Hard Light is so lovely. A portrait of a band 30 years later, as talented and as dedicated to their craft as ever.

■ Hold Me, Thrill Me, Kiss Me ist das fünfte Studioalbum von Gloria Estefan und ihr erstes
Album mit Coverversionen. Das Album enthält Lieder, die für Estefan eine besondere
Bedeutung haben, darunter "Everlasting Love", "It's Too Late" und "Turn The Beat
Around". Diese klassischen Songs stammen von Künstlern wie Carole King, Elton John,
Neil Sedaka und Blood, Sweat & Tears, unter anderen. Hold Me, Thrill Me, Kiss Me wurde
in den USA doppelt mit Platin und in Spanien vierfach mit Platin ausgezeichnet. Das
Album war in den USA, in Spanien und auch im Vereinigten Königreich erfolgreich in den
Charts.
Hold Me, Thrill Me, Kiss Me wird zum ersten Mal seit seiner ursprünglichen
Veröffentlichung neu aufgelegt und ist als limitierte Edition von 2000 einzeln nummerierten
Copies auf White Vinyl erhältlich. Das Album enthält ein Beiblatt mit Texten und
Anmerkungen von Gloria selbst

Repress of the sold out Record Store Day release, this time on a different colour. Black Spiders – Those trusted and true sons of the north are back. “We knew the new album had to be special. We’ve been away for a while. The first album was a straight shot, the second on the rocks, with this new one we had to kick down the brewery doors!” Pete Spiby. Back in June of 2017, Sheffield rock beasts Black Spiders waved goodbye to an army of loyal fans with some sonically charged shows before retreating into the shadows. And then, in November of last year, with the world in the grips of the Coronavirus pandemic and after a long year of very little fun from out of the silhouettes they returned with ‘Fly In The Soup’, the first new Black Spiders music in 6 years. Exactly the feel-good shot in the arm the world needed, while we await that other vaccine. The seeds of the Black Spider return were actually planted last summer, when singer and guitarist Pete Spiby began taking to guitarist Ozzy Lister to start writing new material and before they knew it, they had amassed the best part of 40 songs in a very short period of time which they whittled down. And then the pandemic hit. “It’s certainly been a strange process, in unfamiliar territory,” explains Pete. “We started to look at how we could do it given the restrictions and not only that, but we had to replace our original drummer too. For us and probably most other bands, we would usually take a riff or song idea to a rehearsal and thrash it out ‘till we either had something or it ended up in the song graveyard! This time around we couldn’t do that, so myself, Ozzy and on occasion Adam Irwin (bass player) started to send ideas back and forth until we had something to work with in GarageBand. We got to a point where we had enough song ideas with basic structure to go into a studio. It was at this point when we had to look for a new drummer.” With former drummer ‘Tiger’ Si Atkinson unavailable to play, with a week or two of grooming, the band took a chance on Planet Rock DJ Wyatt Wendel to occupy the drum stool. “I've never joined or worked with a band in this way EVER,” laughs Wyatt. “2020 certainly made it surreal. “A Pete/Ozzy writing session at the beginning of the year had produced some promising results, but it felt like barriers were popping up everywhere,” explains bassist Adam Irwin. “We started talking about how we could use technology such as GarageBand to help, and slowly but surely the song writing gathered pace. It was time to hook up with our old producer Matt Elliss and try these new songs out in the studio. “Heading into the studio to record songs we’d written but never played together, with a drummer that we’d never met, is one of the stranger experiences I’ve had while being in a band. Thankfully, Wyatt has turned out to be an excellent addition, who despite his faults (loud, southern) has fit right into the band dynamic. Covid has made life really tough for so many of us in our industry. And yet, this new way of song writing has been liberating, this is the most consistent and prolific we’ve ever been, and I am immensely proud of this album.” Against all of the odds, Black Spiders have crafted an album that features 13 tracks of high-energy, feel-good rock n’roll contrasted by demonic doom that despite the disjointed, isolated way it was recorded. It sounds like a band, firing on all cylinders. “We had to dig down deep to pull out some gems and what would we want from Black Spiders,” questions Pete. War, vengeance, mental health, death, conservation & climate change, where are we from? Relationships, friendships, our flaws. Where are we going? Alien life and Mother Earth - some of which made the record.” Kicking off with the aforementioned ‘Fly In The Soup’ single, this 3rd ST long-player wastes no time in grabbing you by the scruff of the neck and dragging you through an album where good times, hooks and riffs are not in short supply, but the doom-drenched likes of ‘Wizard Shall Not Kill Wizard’ and the psychedelic groove of album closer ‘Crooked Black Wings’ give us an album of many moods and dynamics and a reason to be cheerful in 2021. And why does the album have no title? “It wasn’t hard picking a title for the album, as we decided that the focus should be on the band, not the album title, so we decided not to have one. Let the music do the talking....

Nach dem gefeierten Debütalbum "Wie Du - Hommage an meinen Vater" (bisher 29 Wochen in den deutschen Albumcharts) verneigt sich Art Garfunkel jr. nun mit seinem zweiten Longplayer vor weiteren
internationalen Klassikern und Welthits. Der Albumtitel ist Programm, denn auf EVERGREEN lässt er die große musikalische Ära der 1960er Jahre wieder aufleben. Vier Songs singt Art jr. sogar im Duett mit seinem berühmten Vater, der mit Simon & Garfunkel und als Solokünstler Musikgeschichte geschrieben hat. "Mein neues Album ist eine Art Klassentreffen der Lieblingsmelodien meines Vaters, die er schon immer gehört hat und mit denen ich auch aufgewachsen bin.", verrät der in New York geborene Sänger seine Intention.

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).