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A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career.
Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music
genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive
analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics.
According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles
Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”.
The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a
DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day.
Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor."
Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and
knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured.
Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me
Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists,
weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades.
As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the
scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music"

An unbelievable post-punk shuffler from 1981, by Tel-Aviv-Brussels band Minimal Compact! But this is no ordinary reissue! The 12'' includes an unreleased instrumental version plus a spaced-out extended dub mix by the living legend, Mad Professor! Killer stuff as ever from the Fortuna Records crew!!!

Hey Doll Baby is a newly remastered 17-track compilation that collects some of the lesser-known, buried treasures in the Everly Brothers’ rich catalog with songs assembled by Adria Petty, Tom Petty’s daughter, who worked closely with both Everly families on the project, with help from Phil’s widow Patti and son Jason, who provided track-by-track commentary for the liner notes, as well as Don Everly, prior to his passing last summer, and his widow Adela. Hey Doll Baby holds the bittersweet distinction of being the final project Don worked on.
This is not a “Greatest Hits” package. While it includes some hits (e.g.: “Cathy’s Clown” – their biggest selling single), the objective of this compilation is to highlight many of the lesser-known songs that are equally as good as their well-known hits.

From deep in the heart of Moomin Valley, frozen in time for many
midwinters passed, comes a genuine treasure chest of never
heard Moomin melodies and instrumental comet songs composed
for the continued animated adventures of our Fuzzy-Felt freak folk
friends who disappeared from UK TV pastures in the mid-1980s.
From the top of the Hobgoblin’s Hat and the bottom of Snufkin’s
satchel, original Moomins composer Graeme Miller (‘The Carrier
Frequency’) kindly shares this patchwork selection of spellbinding
sound poems and percussive peons made using the very same
selection of ocarinas, kalimbas, miniature squeak boxes, Waspy
synths, cornflake box shakers and a seemingly endless array of
talent and lo-fi home studio trickery.

Regarded as one of the most enigmatic, beguiling and haunting
imported children’s programmes to ever grace UK TV screens,
‘The Moomins’ was one of the first-ever commissions by Anne
Wood (‘The Teletubbies’) who ingeniously replaced the original
Polish/Austrian/Finnish soundtrack with homemade music
experiments by unknown post-punk theatre students Graeme
Miller and Steve Shill (aka The Commies From Mars) who, after
the screening of two unforgettable series in 1983 and 1985, were
left in eager anticipation of rescoring further Moomin adventures
with new melodies, arrangements and sound designs, which then
lingered in the ether waiting until the Groke awoke and
Snorkmaiden sang once more.

With future felt adventures screened exclusively in Poland and
Germany for many years (often as feature films) these unheard
recordings are the only genuine musical sequel to the bizarre UK
version of ‘The Moomins’ and stand as important inclusions in
Graeme Miller’s own portfolio of theatrical theme music and sound
installations as part of The Impact Theatre Cooperative, including
collaborations with artists and writers such as Russell Hoban.

Witnessed in fragmented form during a short run of incredible rare
live screenings at The Barbican Theatre and various film festivals,
this record marks the first time this music has been heard in its
original full-length form, free from sound effects, dialogue and
whimpers of euphoric joy and nostalgia from those who have
continued to crave the company of our Moomintrolls and their
mysterious music over the last five decades.

· First ever reissue of this mega rare sought after French acid psych secret!

· Featuring an insert with liner notes and interviews by Quentin Orléan, plus photos!

· Limited edition of 500 copies only!

Ultra rare, sought after French acid folk psychedelic masterpiece, Long Orme is the work of singer-guitarist-songwriter Yves Fajnberg, his girlfriend singer Anne Marie Butel plus a full cohort of musician friends. The LP was laid down to a 2 track Revox Reel To Reel recorder between late 1974 and early 1975 and originally released in 1975 by Sonart Disques to such a limited run that an original copy sells nowadays for no less than 400 euros.

Together with Yves Chauvet, Fajnberg had worked on Dominique Droin's Wave On LP issued by Le Kiosque d'Orphée, all done on a small home studio set by Chauvet. They used the same facilities, mainly two 2-track Revox reel-to-reel magnetophones and an 8-track mixer, to produce a delightful peace of poetry and acoustic guitar acid folk sounds which will appeal to fans of artists such as Season, Jeff, Beautiful Losers, Yves, Serge & Victor, Manu Lannhuel, Denis, Jean Yves Tourbin, a.o.

Never reissued before, the Wah Wah edition features original sleeve artwork plus an insert with liner notes & interviews by Quentin Orléan. Limited edition, 500 copies only.

Reissue from Blahh !! as demand grows for this 4 track garage house flavoured ep. Swing in overdrive, from the deeper shuffle of "Closer" to the heavy bump of "I Don't Want U". "Freak Me Out" is a wonderfully frantic workout with all manner of samples and skittish key flex pinging around an uptempo groove, before "Talkin' About" pushes the swing even harder to conjure up a jazzy feeling smattered with sax licks and squelching synth stabs.

One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the “Conciertos Beat” (“Beat Concerts”) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in "candombe beat", and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them “Esa tirsteza,” “Y hoy te vi,” and the classic “Mejor me voy.” Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country.



On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes –bassplayer for El Kinto,– Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album –which would be her only one until her 2008 comeback– that made her legend grow among future generations of music lovers.



It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattorusso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble.



Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve.

A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project:

“Nam June’s Spirit Was Speaking to Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander. The building was packed with Paik’s artwork and related material. I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera.

It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul. It was literally out of the blue. Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me.

The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering.

Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated “In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.” Paik himself was a master shaman and vividly used shaman rituals and symbols for staging his performances and installations.

These recordings also became a way for me to explore the mythic form of radio—a medium which is full of mysteries. The transmissions captured may be “secret broadcasts” on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels. Some of these stations were likely for military use or espionage or relics of the Cold War. But many others continue without apparent explanation. These are just some of the questions that remain unanswered.”

Commissioned in 2017 by documenta 14's radio program “Every Time A Ear di Soun,” these recordings were continually broadcast on eight radios stations around the world that year. Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air. The LP comes replete with a booklet of photographs of Paik on the set of Michael Snow’s unreleased film Rameau’s Nephew (1974).

Sean McCann, 2020
Aki Onda, 2017

20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu

Hercules and Love Affair is a project created by American DJ Andy Butler in 2004.

Black 2LP in Gatefold Sleeve. The ever shape-shifting, critically hailed Hercules and Love Affair return with ‘In Amber’, their first album in five years, out 17th June and featuring first single ‘Grace’ as well as collaborations with Anohni.

"Prime Sequences" is the latest album by dj and electronic music producer GummiHz, real name Alexander Tsotsos. Alex has an ear for what he describes as elastic frequencies, thus gummi-hertz! In other words, low bass lines, airy synth phrases and shuffle rhythms, playfully arranged within loose forms. A philosophy that comes across throughout this long player. Elements fall in and out of order, time swings back and forth, all together in perfect harmony! Pushing the boundaries of what has become his signature sound, a fusion of house and techno all the way from Berlin to Detroit! This package features underground music coming straight from the heart, or the Hertz more appropriately! The story unfolds within no less than nine tracks showcasing Alex's versatility in making waves!

The opening track titled "Berlinopolis" is a sonic portrait of the city of Berlin, where Alex lives since more than a decade. A smooth soundscape produced by combining abstract melodies with field recordings of the city's ambience. "'Second Wave" follows airy jazz chords and drum parts to launch the listener into trajectory. It feels like the sort of track that would probably make it into Herbie Hancock's deep house collection! The title track "Prime sequence" is a Detroit brewed piece with some Berlin minimalism rawness in the rhythm section! Combining a mixture of drama, suspense and shaking drums to dominate the dance floor. Next up comes "Submerge", a tight and hypnotic affair carrying the right amount of subtle release. It locks in right from the start and doesn't let go! "Prime Dub" dives deeper into the frequency spectrum. Rhythm and sound stimulate the brain waves as a heavy chord phrase cycles to infinity. "Proto Sequence" follows a simple still infectious groove laced with various modulations. This track has party written all over it! Inspired by proto-house motifs pioneered by artists like Chi-town's Ron Hardy. "Metafunk" reaches out to Berlin's club culture at its core. That is, the youth and street culture! The phrase on repeat signifies the urge to reclaim the streets, while endlessly flowing within finely tuned electronics. "Mindloop" is a track written for the after hours looping state of mind. Another minimal house cut with a fair dose of psychedelic sound design. Lastly, "Descension" relaxes the mood through deep pulsating rhythms and playful arpeggios. Pushing towards a meditative state by stimulating mind, body and soul!?

"Prime Sequences" covers a wide range of styles like ambient electronics, peak time house and techno, as well as seriously effed up after hour minimalism! Made for both djs and music lovers, this is the second long player by GummiHz to come out on vinyl after his debut album "Sleepless Nights" back in 2009! While it succeeds his latest EP, "Groove is in the Hertz". What makes it even more special is that it comes out on brainchild Claap, giving the artist total freedom of expression.

LOVE & FIRE is the seventh full-length studio album from the multi-platinum selling reggae hybrid band The Black Seeds. It was developed over the past few years, beginning with a series of creative sessions in 2018 at the band’s creative incubator The Surgery in Wellington, New Zealand.

The original plan was to then do a classic “band in a room recording,” which got thrown out the window once the pandemic hit and lockdowns began. At that point, the group got creative, working remotely between various home studios of the band members, and the result is as strong a record as they’ve ever done, managing to capture the feelings of the past few years in a cohesive set of new songs.

The Black Seeds continue to evolve musically while defying expectations, yet still always seem to sound like no one else but themselves.

Side A / Double A / The Game

Are you ready to play the game? More big drums heat for the dance floor, courtesy of label boss, Double A. Breaks everywhere, huge fills, horn stabs, some sneaky dancehall vocal samples, and a cheeky breakdown keep this one rolling. 1970’s afro funk business for sure, with plenty of elements across multiple genres to pique the interest of any crowd.

Side B / DJ Fleg (feat. Lean Rock) / Dimension Five / Latin Escapades

If you’re a b-boy or b-girl then there’s no introduction necessary here for Fleg or Lean Rock.
For everyone else, get ready for a party breaks master class. Fleg brings the classic loop heat on “Dimension Five”. Expertly produced, this one snaps hard. If you didn’t know, you’d never guess it started its life as a mellow jazz track. For “Latin Escapades” Fleg teams up with Lean Rock for some completely bananas breaks action over latin horn stabs. Both of these are instant party starters and versatile enough for any funky set.

B-Side is one of the cornerstones of the german Instrumental-beats scene and has been here for a minute. His unique approach for cutting and programming drums made him well known and gave his music a very distinct touch. His last LP came out three years ago and since then he released a number of collaborations with other international producers, rappers and singers. But now it’s time to show the world his interpretation of modern Instrumental-beats. Of course is he a man of the classic retro jazzsound but his record „Inner Life“ is pushing boundaries to the next level. Rhythmical Trap patterns clash with head nodding Boom-Bap vibes. B-Side really took his time. Three years of constant work on the right sound for this album did certainly pay off. This Record takes you on a journey that is not your average sleepy sound. It is hypnotizing and straight up futuristic, both sonically- and productionwise. It just sounds grown up, but in a good way.

He gathered a bunch of his friends for some partial collaborations. Devaloop, TESK, OG Nuage, ØDYSSEE and Flitz&Suppe are really contributing to the whole picture of „Inner Life“.

While the world is busy chasing the right sound for playlists, B-Side made an album that will stand the test of time. Purely good music by an artist that is passionate about his art. He mixed and mastered every single track and also took care of the complete artwork himself with photos shot by Flitz&Suppe. INNER LIFE is released on The Breed's WE RUN THIS Records.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

Known for her lengthy tenure touring and busking with beloved New
Orleans jazz band Tuba Skinny, prolific songwriter and singer Erika Lewis has been churning out American originals all her own for the past several years

From classic country to cosmic Americana to dreamy indie folk, Lewis continues to dip her toes more deeply into an ever- expanding pool of roots music styles. Her new record 'A Walk Around the Sun' is a testament to Lewis' songwriting prowess and exceptional vocal ability. Produced by John James Tourville (The Deslondes), 'A Walk Around the Sun' features 11 all-original songs exploring the gray areas between love and loss, joy and grief, longing and contentment. Though her songwriting shines brightly, it's never at the cost of melody or arrangement; complete with sweeping strings, pedal steel, and even the occasional fuzz of a psych-rock guitar solo, Lewis' voice soars with emotion and texture throughout. Beautifully balanced, adroitly performed, and masterfully produced, 'A Walk Around the Sun' brings Lewis' solo work out from the wings to center stage,
beneath a spotlight nearly impossible to ignore.

Helsinki quartet OK:KO releases their third album "Liesu" with We Jazz Records on 15 April. The band, led by drummer/composer Okko Saastamoinen and including saxophonist Jarno Tikka, pianist Toomas Keski-Säntti and bassist Mikael Saastamoinen (of Superpostion & Linda Fredriksson "Juniper") is a scene favourite in Finland and has recently garnered some international attention with their melodic, dynamic and original approach. The OK:KO sound is adventurous yet accessible, and contemporary yet rooted in the lineage of acoustic small group jazz.

When listening to OK:KO, you can feel that their influences also come from out of the musical realm. After all, isn't this just how it should be? Making music from your own life. Here, you can tell that the landscape of rural Finland, its poetic, at times even melancholy beauty, is ever present. It's folk song country. But don't be fooled, these guys form a real flesh and blood jazz band. That means that the music just starts when the first note hits, and onwards from there, we're in for a wild ride.

Whether punchy like on "Anima", solemn like on "Arvo", or just trekking out there a skiing lane of their own like on "Vanhatie", what you'll get is pure OK:KO. Melodic, interactive, honest and forward-reaching contemporary jazz music. That is something we appreciate – a lot!

Vinyl editions available on opaque white / black vinyl, with inside-out 3mm spine sleeve and a polylined black inner sleeve.

Rising star Amy Dabbs delivers us another huge house EP, dropping as the debut release on her brand new label Dabbs Traxx. The modern take on classic house that she's become renowned for in her recent
highly acclaimed releases permeates every track on Four Track Mind EP, serving up Amy's trademark pacey rhythmic percussion, emotive melodies, and fat subby basslines.
Ghosts kicks things off with ticking clocks and haunting melodies woven throughout, creating a deeply atmospheric track. It surrounds you with thick layers of pads and strings, underpinned with tear-jerking chords and vocals, sprinkled with touches of Amy’s beloved Juno 106. This track relays a moving tale of facing the ghosts of your past which, alongside Ghosts’ powerful percussive drops, is guaranteed to give the dancefloor goosebumps in more ways than one.
Til You See takes us in an uplifting direction, with a powerful bassline blazing against a backdrop of soaring pads and delicately placed arpeggiators, leading towards a spine-tingling yet subtle vocal as the track reaches its peak. Bringing Amy's desire to create music that moves you to life, this stunning track is brimming with jubilance and optimism from beginning to end.
Last but by no means least comes the EP's title track, Four Track Mind, its nostalgic organ sounds, bouncy percussive chops and big basslines ensuring it will be a huge dancefloor moment when played out. This energetic track takes you into the heavens with its relentlessly uplifting transitions throughout, Amy's intention clearly to place you firmly in the centre of the dancefloor with a massive smile on your face.
Having recently been named as one of BBC Radio 1's Future Stars 2022, and with a string of solo EPs coming out over the next 6 months, it's quickly becoming clear that Amy Dabbs is going to be a name we'll be hearing a lot more of this year

Tidal Waves Music now proudly presents: the official reissue of this fantastic album, back available on vinyl for the first time since 1987. Available as a deluxe 180g 2XLP set, with TWO bonus tracks from the same session that were not featured on the original vinyl release. Pharoah `Farrell' Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors. On "Africa" from 1987 Sanders plays with an all-star line-up consisting of Idris Muhammad, John Hicks and Curtis Lundy. Muhammad brings his trademark tight sense of timekeeping, but with a looseness that we love - and Lundy's warm soulful bass does more than enough to give the set a sound bottom- all this while Hick's free lyrical piano works nicely with Sander's spiritual horn. The brilliant `Africa sessions' features the quartet at their best...soulful but also searching for a strong groove at the same time. The music here is less ornamented than on most of Sanders' studio recordings, where sextets, septets or larger lineups have been the norm, but this brilliant effort here remains every bit as compelling. Pharoah and his crew play with the utmost sensitivity and give a demonstration that shows us the full extent of their skills.

Swedish duo Thunder Tillman come together again in healing harmony to produce a much needed LP for troubled times. Thunder and his life coach Pony bring their spirits in sync for 40 minutes of improvised soundtracks for mental and physical wellbeing.

Recorded on Stockholm’s Wind Island, the pair have carefully selected specimens from their collection of vintage musical paraphernalia to channel these specific vibrations for maximum healing power.

Side one is a gentle wake up call for the soul, with pipes and chimes that gently give way to mind-expanding synths and feedback echoes that sound like sun glistening off a mountain river. Those sounds lead into an electric piano and life affirming synth figure, before disintegrating into santoor strings and chants with a slight Indian flavor. It’s a cosmic combination that invites relaxation and meditation, and the kind of deep breathing exercises that could turn back the clock on a host of bodily ailments. An electric piano comes back to the foreground with a bass and synth combination that drives forward with healing hands, before parting the frequencies for ear-tickling pads and voices. Rounding out the side is a chiming synth and santoor figure that brings the wandering spirit home and to rest.

Side two starts up with Cosmic Osmosis - a motorik drum machine beat and bass line that briefly brings to mind some of their more krautrock inspired modes across their three previous Eps, but soon collapses back into visceral synth twinkles and relaxing washes of analogue tones. It’s a dynamic that drives the whole record, sounds that excite the soul perhaps even the body on an atomic level, before bringing that energy down to a calming, relaxing home. There’s a craftsmanship to their synthesized tones that goes beyond mere artistry, and the interplay between sounds and frequencies is especially inspired, to the point where the music practically sparkles out of the speakers. Side two closes out with harmonic chimes that could put you on a Himalayan mountain side, and succeeds in raising the spirit, mind and body to higher plains of cosmic consciousness.

The Aural Healing Program is accompanied by a 40 minutes Visual Healing Program that will be unveiled in conjunction with the vinyl release. The first visual healing session featuring side B opener Cosmic Osmosis, is already available for all to partake. So just relax, let go and let the frequencies guide you.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

"Same Team" ist die erste Single des kommenden Albums S.I.D.E.S. Die Single behandelt persönliche und berufliche Konflikte - Alice sagt über den Song: "Ich hatte das Gefühl, in Welten hineingezogen zu werden, die ich nicht verstand, und Gespräche mit Menschen zu führen, in denen wir einfach nicht dieselbe Sprache sprachen. Ein Team durchläuft Höhen und Tiefen, zieht aber oft an einem Strang, um noch stärker zu werden - in manchen Fällen tut es aber auch genau das Gegenteil."

One of Europe's key figures in the drum and bass music scene of the 2000s - Sunchase - returns with his long-awaited album on Kashtan, a newly launched label from Ukraine, on 1st of December 2020.

Sunchase had numerous singles on such cult labels like Moving Shadow, Metalheadz and Hospital Records and after 10 years he finally returns to the LP format. His second album 'Timeline', just like the concept of the label, blurs the boundaries between genres of electronic music, and cannot be assigned to any particular style. The melancholic and abstract sounds give off a sense of reclusiveness, with dubstep and drum and bass rhythms peeking and sometimes breaking through to the surface, yet more often they go deeper, creating room for bass music, dub and even a slight touch of IDM, thus creating a very special state. The album as a whole appears as a voluminous, complete, and aesthetically established piece of work.

The releases of Kashtan will be executed in a rather unusual format: it will be a limited series of collectible packs, including a USB stick with music and additional multimedia content, as well as other materials. These packs can later be collected into a catalog. Also, the LP will be released digitally on Kashtan's Bandcamp page and all other known online stores.

D'Cruze, the legendary DnB producer synonymous with some of Suburban Base's biggest tracks such as 'Lonely' and 'Watch Out' now sees some of his unreleased productions finally getting a much sought-after release.

The Hidden Trax EP's theme comes from concept that the D'Cruze limited US only edition album contained tracks that were only discovered if you allowed that album to play on beyond what was supposed to be the last song, after a gap of silence no track ID and not listed on the track titles. This is where you’d find 'Bittersweet' pt 2 as a hidden track on the CD. This was Bittersweet’s only ever appearance having never been released in the UK and never released on vinyl or digitally worldwide.

The lush rolling workout of ‘Hardstep' is probably our most requested track that has never had a vinyl release having only briefly appeared on the very limited CD only ‘Subbase Sampler’, demand for a vinyl pressing of this has been called for since 1996.
Another beautiful hidden gem 'Sublime State' from 1995 wouldn’t be known to our UK audience as it’s an exclusive tune to the US only CD release that has never seen a UK or vinyl release.

Rounded off with the incredibly beautiful 'Meus Precious Filius', an unheard unreleased D’Cruze track that was considered a 'lost DAT' until recently surfaced. We are now able to bring this to the world as an epic slice of fresh music from D’Cruze.

The EP is presented on blue and black splattered vinyl making every single piece uniquely different. Original custom sleeve artwork is provided by Suburban Base legendary artist Dave Nodz in his iconic graffiti influenced style.

These are already high demand tracks all brought together for a fantastic value 4 track EP, so grab yourself a piece of future history now whilst we have these available for a limited time.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Released for the first time on vinyl, Queen’s compilation ‘The Platinum Collection’, featuring all three of their Greatest Hits albums, shows their unrivalled track record of chart-topping, award-winning, record-breaking rock and pop classics. June 17th will see the limited edition 6LP colour vinyl set released in a slipcase with brand new artwork. Each piece of vinyl will be a different colour and come in its own individually designed sleeve. The set also comes with an exclusive 24-page 12″ photo booklet. LIMITED EDITION

Women with guitars are the holy grail of rock music! There is barely anything cooler than female guitarists like Joan Jett and Nancy Wilson, for instance. Half French – half English, 100% Rock’n’Roll - Laura Cox is pursuing the path of heavy riffs, powerful soli and catchy choruses. A new global rock star is on the rise!“ Laura Cox returns with her second album “Burning Bright”. Recorded at the legendary ICP Studios (Johnny Hallyday, Francoise Hardy, Vanessa Paradis, Talk Talk,...), backed up by an impeccable band, mastered by the great Howie Weinberg (Aerosmith, Oasis, The White Stripes), Burning Bright offers 10 rock bombs, tinted, depending on the songs, Blues, Classic Rock or even Hard Rock. Following the album’s impressive initial success, Burning Bright is finally coming to record players around the world as a 180g 1LP Edition on finest black vinyl.

"Blues styles have been used and adapted extensively throughout country music’s recorded history. In fact along with elements of Southern rock, the core of Country Music Hall of Fame member Hank Williams Jr.’s sound has always been the blues, and his latest album, Rich White Honky Blues, is a sonic testimony to that. Having used these same blues elements on his early albums, this raw and gritty new studio album returns to those roots. The project came together this past summer over three hot days in Nashville, Tennessee inside producer Dan Auerbach’s legendary studio, Easy Eye Sound. The vibrant and raucous album was recorded live with some of the finest blues session players in the country with Kenny Brown (guitar), Eric Deaton (bass) and Kinney Kimbrough (drums) all joining Bocephus and Auerbach in the studio. Never one to rest on his laurels, even after 56 studio albums and induction into the Country Music Hall of Fame, the acclaimed singer/songwriter and musician is still finding new creative ground to explore. 
"

Written and recorded during the pandemic, Aaron Watson's 'Unwanted Man' takes the listener on a full circle journey from isolation and despair to loving redemption. Aaron wrote or co-wrote all eleven songs on 'Unwanted Man,' showcasing both his trademark love songs in “When I See You” and “Nothing On You” as well as his popular classic uptempo romps with “Cheap Seats” and “Heck Of A Song”. 'Unwanted Man' is Aaron’s 14th studio album and his 18th album overall. Every album Aaron has released since 2010 has landed firmly in the Top 10 on the Billboard Country Album Chart with three debuting in the Top 5. For the past 20+ years, Watson has achieved success on his own terms, hand-building a lauded career through songwriting, relentless touring and nearly twenty self-released albums. His independent Texas spirit and strong work ethic are emblematic of the western lifestyle; virtues which have taken him from humble honky-tonks of Texas to multiple sold-out tours around the world. Rolling Stone calls him "Texas country's reigning indie underdog" and The Boot remarks that Aaron is "a pure expression of his traditional country ethos.” His 2015 album 'The Underdog' was the first independent album in the history of country music to top the Billboard Country Album Chart. Aaron Watson’s career is perhaps summed up best by Forbes, who says he’s "one of country music’s biggest DIY success stories." A self-made businessman, chart-topper, and road warrior whose authenticity has made him a country music staple, Aaron Watson is here to stay.

‘Mehldau can truly translate his thoughts and feelings into complex and lasting music. He is one of those people whose brain and fingers and musical ability is all one beautiful entity.’ – Jamie Cullum

Nonesuch Records releases Brad Mehldau’s Jacob’s Ladder on 2 x 140g black vinyl on June 17th . The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Featured musicians on the album include Mehldau’s label mates Chris Thile and Cécile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others. The album’s first single, ‘maybe as his skies are wide’, builds off an interpolation of one portion of Rush’s classic ‘Tom Sawyer’.

Mehldau explains, “We are born close to God, and as we mature, we invariably move further and further away from Him on account of our ego. Jacob’s Ladder begins at that place closer to God with the voice of child, and then moves into the world of action. God is always there, but in our discovery and conquest, and all the joys and sorrows they bring, we may lose sight of him. He sets a ladder before us though, like in Jacob’s dream, and we climb towards him, to find reconciliation with ourselves, to stitch up all those worldly wounds and finally heal. The record ends with my vision of heaven – once again as a child, His child, in eternal grace, in ecstasy.

“The musical conduit on the record is prog,” Mehldau continues. “Prog – progressive rock – was the music of my childhood, before I discovered jazz. It matched the fantasy and science fiction books I read from C.S. Lewis, Madeleine L’Engle and others at that time, aged ten through twelve. It was my gateway to the fusion of Miles Davis, Weather Report, Mahavishnu Orchestra and other groups, which in turn was the gateway to more jazz. Jazz shared with prog a broader expressive scope and larger-scale ambitions than the rock music I had known already.

“The prog from Rush, Gentle Giant, and Emerson, Lake and Palmer here only hints at the genre’s conceptual, compositional and emotional range. These bands and others have continued to influence newer groups that bring prog impulses into the arena of hard rock and screaming math metal, like Periphery, whose music is included here, and also inspired the screaming vocals on ‘Herr und Knecht.’ I tried to avoid a direct tribute approach to all the songs, and opted in some cases for excerpts, or reworking of themes.”

Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau’s trio – drummer Jeff Ballard and bassist Larry Grenadier – as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album’s fifteen pieces for the ensemble.

Mehldau’s 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes – six by the duo and six by Mehldau. His 2019 album Finding Gabriel featured performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians included Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others.

Indie-pop singer-songwriter, composer and producer Australia’s Ben Lee releases his 14th solo studio album “I’m Fun!”. The new album features guests Zooey Deschanel, Christian Lee Hutson, Money Mark, Megan Washington, Georgia Maq, Eric D Johnson.

On the album, Ben Lee says “This album, this moment in my career, is all about balancing some hard-earned wisdom from a 30-year long career with the vigor and energy of youth. That’s why it was as important to me to collab with artists like Jon Brion and Money Mark who I’ve both known for over 2 decades, as much as people like Shamir and Georgia Maq who are young and lit up with creative adrenaline. I like being a generational bridge between freaky artists. They are my tribe!”
Even before the launch of his solo career, Ben attracted attention in his teens as a member of the Sydney band Noise Addict. Following the band’s demise in the mid-90s, he began issuing a string of acclaimed solo albums while taking part in several side projects, including The Bens (Ben Folds, Ben Kweller, Ben Lee).

In his 30-year music career, Ben Lee has been gloriously prolific and unpredictable. The 4x ARIA award winning artist boasts an enviable catalogue including ‘Grandpa Would’ 1995, ‘Something To Remember Me By’ [1997], ‘Breathing Tornados’[1998], 2x ARIA Platinum album ‘Awake In New Sleep’[2005], ‘Ripe’ [2007], ‘The Rebirth of Venus’[2009], ‘Deeper Into Dream’ [2011] which have collectively spawned a multitude of chart hits, including “Cigarettes Will Kill You”, “Gamble Everything For Love”, “We're All in This Together” and “Catch My Disease”

Christy Moore is a prolific Irish singer/songwriter and one of the founding members of Planxty
and Moving Hearts. One of the most inspirational musicians Ireland has ever produced, he has been a key part of the evolution of modern Irish roots music for more than half a century.
THE CHRISTY MOORE COLLECTION covers his solo recording from 1981 through to 1991. Originally released in 1991 we will be re-issuing THE CHRISTY MOORE COLLECTION on Vinyl on 17th June 2022.

This collection includes the Christy Moore hits ‘Missing You’ and ‘Nancy Spain’ and will release just in time for Father’s Day!

The Girl With The Gun for the first time on Ltd 7" Vinyl

Another dream come true! The first 7" ever to contain the three grooviest and most danceable tracks from the legendary soundtrack to La ragazza con la pistola, Mario Monicelli's 1968 cult film depicting the mod subculture of 60s Swinging London and starring Monica Vitti in one of her most iconic roles. (In the mid-90s two of the tracks were compiled in the seminal compilation Easy Tempo Vol. 2.)

Starting the party is Girl With The Gun, a mod-generation classic featuring a psych-funk rhythm section and an exotic-sounding theme played by a sitar. Next on Side A we find the danceable lushness of Shake Balera, a shake number clearly influenced by the London moods portrayed a couple of years earlier by Michelangelo Antonioni in Blow Up, with Antonello Vannucchi on Hammond and Carlo Pes on guitar (the piece was later covered by Calibro35 in their first album). Last but not least, on the flip is the super intriguing Rapimento in Sicilia, which opens with a spy-movie vibe before switching to a hectic dance of sitar, electric bass and wild percussion.

All tracks were written by Peppino De Luca and performed by his trusted and recurring musicians, the legendary super-group of Italian session players I Marc 4, who bring in their signature psycho-beat sound.

Highly recommended for diggers and DJs.

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

First ever vinyl reissue in an upgraded gimmick cover in silk-screened copper foil cardboard with insert. Only 500 pressed!

After a 2 year hiatus, Silver Dollar Club returns to round out a trilogy of EPs with a sparkling slab of weirdo tearjerkers and club-ready cuts from Bristol's own Remotif. With a healthy lineup of releases on Coymix, Air Miles, and his own label Familiar Strangers, it's been a busy year for Joe Reddick and for good reason: Prolific and versatile, he combines a classic club sensibility with an exploratory approach to space and texture that results in a sound all his own.

Slap Bass, wet arps, emotional breaks & driving percussion all come together to make a record that we're very proud to be able to put our name on. This will be the last in a series of three records from Silver Dollar Club; so play it in your sets, play it in the car, play it in the bath, whatever you do, just play it

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

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

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

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

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

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

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


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


Radio - 6 Music, Scala Radio Mark Kermode.


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

James Hinton aka The Range veröffentlicht neues Album nach 6 Jahren. Mercury ist stimmungsvoll, mitreißend und unbestreitbar von Rave beeinflusst.

Auf Mercury baut Hinton auf den Techniken auf, die er auf seiner von der Kritik gefeierten LP Potential aus dem Jahr 2016 etabliert hat, und versucht, eine menschliche Verbindung im Internetzeitalter zu schaffen, indem er Vokalisten aus den Ecken von YouTube, Instagram und Periscope sampelt. "Ich habe das Gefühl, dass ich Wege finden kann, mich auf eine Art und Weise auszudrücken, für die ich in der realen Welt zu schüchtern oder unfähig bin", sagt Hinton über diesen Prozess. Mercury ist stimmungsvoll, mitreißend und unbestreitbar von Rave beeinflusst. Obwohl es IDM-Größen wie Aphex Twin und Grime-Pionieren wie Skepta verpflichtet ist, bewegt sich Hinton auf dem Album außerhalb der Grenzen eines bestimmten Genres. Das Ergebnis ist sowohl maximalistisch als auch zurückhaltend: riesige, weiche Synthies treffen auf treibende Beats, die die komprimierten Vocals seiner sorgfältig ausgewählten Clips ausgleichen. "Mercury ist mein bisher vielseitigstes Album", sagt Hinton. "Meine Erinnerungen an Rave-Musik, Grime und MPC-Musik spielen in fast jedem Song eine große Rolle." Mercury wurde von James Hinton mit zusätzlicher Produktion von Damian Taylor (Bicameral, Ricercar, Relegate) produziert, von Lexxx (Alex Dromgoole) gemischt, mit Ausnahme von "Relegate", das von Damian Taylor gemischt wurde, und von Dave Cooley bei Elysian Masters in Los Angeles, CA gemastert.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album now!

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."