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A 2LP compilation featuring 42 of the world’s most supreme Northern Soul anthems.

An essential collection for any fan of great timeless music, this compilation celebrates the dance movement that emerged in Northern England and the Midlands in the early 1970s. Be transported back to the swinging sounds of Northern Soul, featuring the soulful classics from Gloria Jones, The Supremes, Smokey Robinson & The Miracles, Dusty Springfield and Frankie Valli & the Four Seasons.

Delivered via the manic pedalboard wizardry and sophisticated finger work of guitarist Tommy Meehan (Cancer Christ, Deaf Club, Cartoon Network) and the utterly brutal and savage drumming of Seth Carolina (Starcrawler), SQUID PISSER's tightly controlled, futuristic hardcore-onslaught of amped-up rainbow vomit is a thing of throbbing, mucous-laden beauty. Conceptualized and formed in 2022, SQUID PISSER decided to fully utilize planet Earth's viral slumber in order to gestate, write, and record - resulting in the opening salvo 'My Tadpole Legion' (Three One G / Sweatband) and a spattering of live shows, already the stuff of legend.

SQUID PISSER continue their live assault and make their SKiN GRAFT Records premiere with "Vaporize A Neighbor", a four-song EP packaged in a full-color 24-page comic book sleeve with comics from Johnny Ryan (Angry Youth Comix), Mike Diana (Boiled Angel), Kali Fontecchio (Maude Macher) and many more. The first 500 copies are pressed on translucent "Purple Bruise" vinyl, include a wraparound obi-strip and come packaged in a crystal clear resealable sleeve. Released alongside "Vaporize Your Neighbor" is the fifteen song CD companion "Vaporize A Tadpole", compiling the new EP, Squid Pisser's debut album "My Tadpole Legion" and additional unreleased bonus tracks. Both releases feature exclusive cover artwork from afro-surrealist A4RO.

By the turn of the 80s, the impact of David Bowie’s ground- breaking Berlin recordings – the synths, the alienation, the drily futuristic production – was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s Lodger and 1980’s Scary Monsters owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, Fantastic Voyage is the companion album to their hugely successful Café Exil collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.

Like Low and Heroes, some of the tracks on Fantastic Voyage are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art- pop for America and the emerging world of MTV with “Let’s Dance” in 1983. Fantastic Voyage soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

"The Blinders make their return today with ‘Brakelights’, the first track to be taken from their forthcoming third album, Beholder, which is released on Friday 1st March 2024 via Funhouse Recordings/ EMI.
The perfect introduction to their new album ‘Brakelights’ drips with a dark atmospheric intensity which equally lurks across the albums other 9 tracks. The Blinders are an English alternative rock band originally from Doncaster, now based in Manchester, England. Beholder shares a frenetic energy with their previous albums but there’s a new depth both lyrically and musically to the album. With a visceral urgency live to more than match the likes of contemporaries IDLES or Fontaines DC, The Blinders take their brooding and intense live show, which recalls the dark atmospherics of The Bad Seeds or peak-period Bunnymen around the UK in March"

This vinyl re-pressing of Martin Carthy's Debut album is released to commemorate Topic's 85th anniversary in 2024 - Limited edition of 1000 copies - Black vinyl, standard weight with black, polylined inner sleeves. In the early 1960s, the approach Martin Carthy took to folk music was nothing short of revolutionary, albeit a relatively quiet revolution befitting of his humble nature. You wouldn't find Carthy's music clambering up the singles charts; his was not a face adorning the teen magazines. Instead, his influence was felt at a grass-roots level. He plied his trade in the folk clubs, which is where the likes of Bob Dylan and Paul Simon sought him out, enamoured of his traditional repertoire and keen to learn songs like 'Scarborough Fair' and 'Lord Franklin' directly from him before adapting them for their own purposes.

His debut eponymous album, re-released here, on vinyl by Topic Records as part of their ongoing Topic Treasures series, is a snapshot of the work he was doing at the time.

Originally finding its way into the world in 1965, courtesy of Fontana Records, Martin Carthy pulled together 14 songs from his burgeoning repertoire. Produced by Terry at the Philips Recording Studios in Marble Arch, the album was a must-learn checklist for budding guitarists and folk club orgas, and, to this day, remains an essential listen for anyone attempting to find their way into traditional English folk music. Most people turn up for 'Scarborough Fair', very few leave without getting hooked on 'High Germany', 'Sovay' and 'Ye Mariners All'.

The album also introduces Carthy's earliest collaborations with Dave Swarbrick, an enduring and much-copied partnership that lasted, off and on, until Swarbs death in 2016, and became a blueprint for how guitar and fiddle duos ought to sound. While Carthy had been building up his solo repertoire over the previous five or six years, several of the duo arrangements on this album ('Lovely Joan', 'A Begging I Will Go', 'Broomfield Hill') were thrown together in the studio, adding a fizz and freshness to the recordings. This became the pair's standard way of working. "We used to rehearse on stage, in front of the audience," he explains today.

In the years since, Martin Carthy has become the veteran of over 40 studio albums and a veritable beacon for musicians and music lovers seeking "the real stuff." Pressed to name his favourite, he needs no time to think it over. "I always stand by the first album," he says of his 1965 debut. "I love it. There are some things on it I think I couldn't have done better. There was a clarity of purpose."

And, with this re-release, we can be sure that newcomers get to hear that sense of purpose in the best possible quality, as clearly as Bob Dylan, Paul Simon and a generation of folk lovers did six decades ago.

Tribe old school from & by the Mang'ta Galette familly !

Contradictory accounts of Miles Davis’ creation of the soundtrack to Louis Malle’s film noir Ascenseur pour l'Échafaud have all become part of its legend. Rarely has a soundtrack been so decisive. Nearly seventy years on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the Miles’ finest records. The basic outline remains: Jean-Paul Rappeneau suggested to Malle asking Miles Davis to create the film's soundtrack who agreed to record the music after attending a private screening. Davis was performing at the Club Saint-Germain in Paris in November 1957 and on December 4, he brought his four sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background. Bassist Pierre Michelot recalled in 1988 that “Miles just asked us to play two chords, D minor and C7, 4 bars of each, ad lib.” Typically, Miles planned very little but know exactly what he wanted. François Leterrier, the film’s Second Assistant Director picks up the story: “The session started at around ten o’clock and went on until dawn. The screen in the auditorium was showing the scenes for which Miles had devised some harmonies, and they were edited into a loop. And that’s what makes this music unique: it was entirely improvised in conditions that went back to the days of silent films, while watching frames shot in black and white by cinematographer Henri Decaë: tracking shots of Jeanne Moreau wandering down the Champs-Elysées at night, passing in front of lit window displays or going into bars, while looking for her lover/murderer alias Maurice Ronet … All of us there in the dark auditorium were aware that something extraordinary was taking place, something that had definitely never happened before. … In the small hours we all met up again at the Pied de Cochon in Les Halles, and Louis was looking at Miles with the disbelieving eyes of a child … as if he couldn’t believe the gift he’d just received. Even in his wildest dreams he had probably never imagined what his film would be like once it had been as if illuminated by the trumpet of Miles, incisive or wrapped softly in cotton.” The music was released on 10” by Fontana and received the Grand Prix from France’s Académie Charles Cros. It was released in the USA on Columbia as the A-side of the 12” LP Jazz Track, which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with Boris Vian’s original liner notes and Jean-Pierre Leloir’s iconic studio photo of Miles and Jeanne Moreau, and an essay on the circumstances that led to this out-of-the ordinary music by Franck Bergerot.

FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

For their next release, Futuribile looks to the work of Salerno star Carlo Fontana, presenting a set of hard-to-find & unreleased treasures titled ‘La Musica Del Sud.’

Carefully remastered at the West Hill Studio, the collection of tracks — which features contributing arrangements from Tullio De Piscopo — forms a moody pop funk paradise, with jazz horns and soul brass layered together, and amorous vocals crooning, supported by lush harmonizations and greasy gliding bass. Disco beats and exotic drums dance, prismatic pads and soft synths seek the stars, piano and guitar sing a spaced out blues, and amidst the moving grooves and deep swinging jams, moments of beautiful balladry emerge to touch the spirit.

Carlo Fontana's work is further testimony to a courtly and sophisticated musical aesthetic in vogue in Naples (and surrounding areas) between the 70s and 80s which had as its main proponents and protagonists exceptional musicians such as Joe Amoruso, Tony Esposito, Pino Daniele, Elio D'Anna, Enzo Cervo and many others.

Das letzte Musical von Rodgers & Hammerstein war ein Triumph. The Sound of Music wurde am 16. November 1959 im Lunt-Fontanne-Theater am Broadway uraufgeführt. Es wurde 1.443 Mal aufgeführt und erhielt fünf Tony Awards, darunter den für das beste Musical. Außerdem wurde das Album der Besetzung mit einer Goldenen Schallplatte und dem GRAMMY Award ausgezeichnet.

Florence Henderson spielte die Hauptrolle in der ersten nationalen Tournee, die mehr als zwei Jahre lang lief. Jean Bayless verkörperte die Rolle der Maria in der Londoner Originalproduktion, die mehr als sechs Jahre lang lief und lange Zeit den Rekord als am längsten laufendes amerikanisches Musical in London hielt. 1965 kam die Filmversion von The Sound of Music in die Kinos und schrieb Hollywood-Geschichte. Unter der Regie von Robert Wise und mit einer von Rodgers überarbeiteten Filmmusik (Hammerstein war 1960 verstorben, so dass Rodgers sowohl die Musik als auch die Texte für zwei im Film enthaltene Lieder schrieb: ”I Have Confidence” und ”Something Good”) und einem Drehbuch von Ernest Lehman konnte The Sound of Music mit einer Traumbesetzung aufwarten: Julie Andrews als Maria, Christopher Plummer als Kapitän, Eleanor Parker als Elsa, Peggy Wood als Mutter Äbtissin und Charmian Carr als Liesl. The Sound of Music wurde mit fünf Oscars ausgezeichnet, darunter für den besten Film, und ist das beliebteste Filmmusical aller Zeiten.

Recorded on the island of Aruba, Farmer Marcus joins Fontoyard for this special dedication to the Healing Of The Nation. Originally off of the "Farmer Marcus Inna Yard Diversity" album, this meditative, cautious & jumpy style of a riddim is now available for distribution on 7". You've got to feel this strain!

Vocals by: Farmer Marcus (M.Tromp)
Mixed by Fontoyard (T.Gibbs)
Mastered at: Earth Works Amsterdam (B.King)

Repress!

Supermercado: a mosaic, tangible, colourful to the point of saturaton, anchored in a very real present.
Behind the metaphor that gives the new album its ttle, Corridor examines modernity, takes on this transitonal transiton by looking at where it went wrong: pushed around by big data, apathy induced by oversaturaton, the speeding up of cycles, efort stripped to its bare minimum, physical detachment.
Afer giving the art-rock and jangle-pop treatment to their frst two eforts Un Magicien en toi and Le Voyage Éternel, Corridor stcks to its signature sound: upfront, dissonant guitars upheld by minimal beats and syncopated bass lines, yet also marks a new directon. Supermercado leans on repeated strong melodies, slow progressions, bolstered by two distnct voices, yielding a more hypnotc, sharper, and strangely, poppier result. Corridor recorded this new record in the hallowed halls of Montreal's Breakglass Studios, with Emmanuel Ethier (Chocolat, Bernhari, Peter Peter) assuming producton dutes.

Introducing Biel Solsona: A Barcelona pianist with a vibrant musical background. His debut solo album, "· i · ", showcases a fusion of jazz, electronic, and cinematic sounds. Featuring Ferran Puertas on double bass and Eudald Font on drums, they weave a mesmerizing tapestry of original compositions where piano harmonies blend seamlessly with synthesizers and rhythmic beats, revealing a unique musical landscape. Their rendition of "Sunday Disco Dawn", an original composition of spanish disco dons Fundación Tony Manero, stands out, taking things into a more spacy direction. Experience the synergy of melodies, discover new textures, and immerse yourself in Biel Solsona's musical universe.

Iconic french punk band Ludwig Von 88 celebrates its 40 years birthday with a 4LP/CD box set including their recent albums "L'Hiver des Crêtes", 'L'Ete du No Future", "Le Printemps du Pogo" & "L'Automne de L'Anarchie".

Who managed the artistic feat of composing 56 cosmic hits in one year, recording them, engraving them with chisels on plastic discs that are not at all environmentally friendly, and packaging them in a magnificent box, with marvellous illustrations and sleeves of a taste that surpasses perfection? Who did?

Look no further than the Ludwigs, who could do it. And since they had no plans for 2023, apart from celebrating their fortieth birthday over a tasteless cake in a dingy old flat in a godforsaken suburb in the forbidden zone, they did it. And they're proud of it.

56 tracks. One album per season. The Mozart of pogo becomes the Vivaldi of stakhanovism!

Good rough punk, ska, swing, reggae, cumbia and even yodelling. What a gift to the universe before its final destruction.

Listen and enjoy. Sing along and get your groove on. After the Ludwigs, the music will have the flavour of a rosewater romance declaimed by Garou in Birkenstock and the colour of the cosmic void after his encounter with André Rieu's five poodles.

'Of No Fixed Abode' gathers fragmented recordings by the Madrid duo of Pablo Mirón and Juan Vacas, the multi-disciplinary artists behind the collective Real No Real (realnoreal.org) and Ediciones Fontenebro label. Working with field recordings, found materials, instruments such as Violin and Harmonica and by manipulating old radios, turntables and reel to reels the pair have been performing across the world of late taking their collage style process with them. 'Of No Fixed Abode' uses cross-continental sound diaries from the 2019-2022 period and has been central to shows at venues and festivals around Europe and South America.

Contributing to the wider field of post-fluxus 'broken music', the duality of natural sound and decaying, processed tape loops along with gentle instrumentation across the record follows in the footsteps of the Dieter Roth school, Anne Gillis, Leyland Kirby or Henry Krutzen yet is anchored in a charming restraint in which each element seems to fall into place perfectly. Miradasvacas have a long history with presenting experimental music through shows on Madrid's Radio Relativa, concerts and gatherings across the city and self-published mixtapes and sound art, though debut here on 12th Isle with their first proper album. Far-flung gallery sonics at their finest.

Charly Records have done plenty of leg work here thatmeans you can save yourself lots of time and effort and immediately make yourself out to be a font of dub and reggae wisdom. Treasure Isle Solid Gold is a well curated selection of the most vital club hits produced by the legendary Jamaican label owner Arthur ‘Duke’ Reid. You will know plenty of the artists he worked with from the opener John Holt via Rolando Alphonso Baba Brooks Band, Don Drummond & The Skatalites and U-Roy & The Pargons.

The sounds are varied but never less than sensational across both sides of wax.

Während seiner außergewöhnlichen Karriere, die sich über mehr als sechs Jahrzehnte erstreckte, schuf der weltberühmte italienische Komponist Ennio Morricone mehr als 600 Originalkompositionen und einen einzigartigen und unverwechselbaren Stil, der avantgardistische Lösungen mit feinster Pop-Psych-Attitüde verband.

Zu den Künstlern, die den Maestro sampelten oder sich in ihren Produktionen von ihm inspirieren ließen, gehören: Jay-Z, Flying Lotus, Danger Mouse, Madlib, Mark Knopfler, U2.

Anlässlich des 95. Geburtstags des Maestros (10. November 2023) präsentiert CAM Sugar eine neue Sammlung von wenig bekannten Perlen, die von Morricone komponiert wurden und die 2020 die Morricone Segreto Collection ergänzen: Morricone Segreto Songbook.

Ein Beweis dafür, dass auch einer der berühmtesten Komponisten unserer Zeit noch Geheimnisse zu lüften hat.

Das Morricone Segreto Songbook enthüllt die poppig psychedelischen, düster-kinematografischen und avantgardistischen Klänge, die die ursprüngliche Sammlung kennzeichneten, mit einigen Ausflügen in den Folk-Rock der Zeit, zwischen ergreifenden Balladen und eleganten Chansons.

Diese Anthologie entstand aus dem Wunsch heraus, Morricones Filmmusiken zu erforschen und einige versteckte Perlen zu entdecken, die trotz des innovativen Niveaus der Kompositionen und der Modernität der Orchestrierung mehr oder weniger in Vergessenheit geraten oder in den Hintergrund gedrängt worden sind.

Ab dem 10.11 als 2LP oder 1-CD Digipack verfügbar.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. These four-disc LP and CD box sets include 12 and 16 page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.

A thrilling immersion into FM synthesis and a puzzle of MIDI data, the Los Angeles based multi-instrumentalist Gregg Kowalsky returns to Mexican Summer with Eso Es, his sophomore outing for the label and first new music since 2017’s L'Orange L'Orange. Representing a significant creative leap for the veteran composer, Eso Es unfolds as a hypnotic journey into Kowalsky’s inner world, laced with a depth of emotiveness and vulnerability that’s rarely encountered in the electronic music realm. Raised in South Florida and trained at Mills College under Fred Frith and Pauline Oliveros, Kowalsky first came to prominence during the mid-2000s as a member of the thriving experimental music scene in the Bay Area, issuing a series of stunning albums on imprints like Kranky and Root Strata and contributing to a reinvigoration of American made Minimalist and electroacoustic music. In an addition to composing solo works, pieces for large ensembles, film soundtracks, dance performances, and site-specific installations over the past twenty years, during the 2010s Kowalsky concentrated his energies as one half of the critically acclaimed duo Date Palms, performing extensively and releasing three hypnotic albums, including 2011’s Honey Devash on Mexican Summer.

Seine erste Veröffentlichung in sieben Jahren, "Only Dead For a Little While", zeigt Jon Dee Graham auf dem Höhepunkt seiner Karriere und erhöht dabei die Einsätze. Als gebürtiger Texaner in der fünften Generation hat er den Punkt gefunden, an dem Leben, Liebe und Tod zusammenlaufen, wo sie so tief miteinander verbunden sind, untrennbar miteinander verknüpft. Und er lässt dich diese Verbindung mit derselben rohen Intensität spüren, die er selbst empfindet. "Nach 15 Jahren Schützengrabenkämpfen auf eigene Faust haben George Fontaine und Jay Woods es mir ermöglicht, ein Album zu machen,
auf das ich stolz bin, und mir ein Label gegeben, das es unterstützt.

Als jemand, der eine Karriere und ein Leben aufgebaut hat, indem er die Chancen überwunden hat, war das nichts weniger als ein Wunder. Ich bin von der Schwelle des Todes zurückgekehrt, um es zu machen, daher hat es eine gewisse Dringlichkeit. Insofern könnte dies mein
bestes Album sein." - Jon Dee Graham

Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes.

Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments – cello, piano and acoustic guitar – he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings.

Channelling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate’s childhood experiences of rural England.

“It was really important not to isolate the sound from its environment,” he explains, describing the compositional and recording process as “site-specific”. Developed over a series of intuitive musical enquiries, the mini-album’s uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur.

Heygate points to the final track as indicative of the work as a whole: “‘Follow’ really is the mantra for the release and embodies the practical approach I was taking to music making: not to force the music but see where it takes you.”

As a painter, Heygate’s practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Since obtaining a degree in Fine Art from Central Saint Martins in 2017, he has exhibited solo at Peter von Kant and Springseason galleries in London, and has participated in group shows at Saatchi Gallery, Cob Gallery and Senesi Contemporanea.

Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes’ striking artwork, which features paintings of 13th century stone carvings from the font of the church in the town where he grew up.

Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

“To add that one juxtaposition might open a whole new interpretation or language that might be hard to find otherwise,” he explains.“Over time it might reveal itself to you, which is why I'm excited about it being released. To throw them out there and see what comes of it.”

Die in London lebende österreichisch-brasilianische Künstlerin Viji kündigt ihr mit Spannung erwartetes Debütalbum 'So Vanilla' via Speedy Wunderground an!

Viji - mit bürgerlichem Namen Vanilla Jenner - bezieht sich auf die lässigen, schmierigen Sounds der 90er Jahre und hat sich als eine der aufregendsten alternativen Künstlerinnen etabliert, die man in Großbritannien derzeit beobachten kann. Nachdem sie bereits Musik auf Dirty Hit veröffentlicht hat, ist sie seit kurzem bei Speedy Wunderground unter Vertrag und hat sich schnell eine treue Fangemeinde aufgebaut, während sie von Leuten wie Jack Saunders von BBC Radio 1, Steve Lamacq von BBC Radio 6 Music, CLASH, Dork, DIY, Wonderland, So Young und vielen anderen gefeiert wird. 'So Vanilla' wurde überwiegend in London aufgenommen, in Zusammenarbeit mit dem vierfach für den Mercury Prize nominierten Produzenten und Chef des Boutique-Labels Speedy Wunderground, Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg). Nach der Fertigstellung von 'So Vanilla' im November 2022 erzählt Viji, dass jeder Song einen anderen Entstehungsprozess hatte - bei einigen spielten sie und Carey stundenlang Gitarrenakkorde zusammen, bis die Klänge zu einem einzigen verschmolzen, und andere entstanden aus nächtlichen Grübeleien zu Hause.

Originally a solo project led by Toronto-based producer Josh Korody (known for his work with Tess Parks, Dilly Dally, Fucked Up, Weaves, Dirty Nil, Beliefs), Breeze has since evolved into a full band following their debut performance for KEXP Live At Home Sessions.

"Sour Grapes" is a new wave - britpop inspired album was recorded by Korody at his Candle Recording studio, at Hotel 2 Tango with Shae Brossard, and mastered by Mark Gardiner of RIDE. "Sour Grapes" marks an exciting direction for this anticipated full-length and full band follow up.

"a fun, referential mix that celebrates the idealized hedonism of his favorite records" - PITCHFORK

"a rising electro-psych artist makes a bold new impression" - CLASH

"a playful mix of shoegaze, Britpop, and disco" - NEW & NOTABLE / DAILY BANDCAMP

"frenetically fun album - energetic and eclectic" - SONG OF THE DAY / KEXP

"an intriguing ambience that meshes disco with post-punk" - STEREOGUM FOR FANS OF: Happy Mondays, Gang of Four, Wire, Gorillaz, Nation Of Language, Shame, Slowthai, Fontaines D.C.

TaxiCab Verses, Is What You Make It, is a project that was created by Athens musician, Jim Wilson. It’s an international collaborative project between TaxiCab Verses (a name inspired by the phrases
covering the backs of taxis Jim observed during his travels in Ghana) and Ghana’s Kofi Atentenben and the Warriors. The 10-track album is named Is What You Make It, and according to Flagpole Magazine it's "aggressive and propulsive, even on tracks lesser musicians would let devolve into simple swing patterns (like the darkly jazz-tinged “Step By Step”)...my only regret is that I didn’t write about it the moment it came out. It’s righteously excellent." Overall, 22 musicians contributed to this between Athens and West Africa. TaxiCab Verses was originally released on CD only in 2012 and became a sort of hidden gem of Athens. The album was mastered by Greg Calbi (Bob Dylan, Drive-By Truckers, Paul Simon, The National) and was produced by Drew Vandenberg (Faye Webster, S.G. Goodman).

Patterson Hood of the Drive-By Truckers also had a big role in the creation of this album. He says that he is "so filled with love and pride for what Jim, Drew and all of those amazing musicians from two continents have created. Kudos to George Fontaine and the Strolling Bones Records folks for spotlighting this amazing chapter of Athens music history (and beyond) and finally making this record available for the whole world to hear."

As the legendary Art Ensemble of Chicago celebrates its 50th anniversary, Soul Jazz Records are releasing a new fully re-mastered edition of the group's seminal album 'Les Stances à Sophie' (1970), which features the great singer Fontella Bass on the opening track 'Theme de Yoyo', a stunning 9-min opus that continues to startle and compel new audiences today.
Drawing upon the mutual soul and funk background of Bass and her then husband Lester Bowie with all the power of the Art Ensemble of Chicago's collective musicianship on board, 'Theme de Yoyo' is powerfully funky, soulful and free at the same time, a classic fusion of black music styles.

As one of Britain's finest songsmiths of the 1960s and 1970s, Peter's voice continues to convey magic and emotion with a lustre of lysergic lyrical lacquer.

His brilliant 60's group Kaleidoscope were one of the great psychedelic groups to emerge from the U.K. during those heady days.

With infectious pop tunes laced with folk- rock jingle- jangle goodness and anapaestic lyrics that set them apart from many of their contemporaries, Kaleidoscope were vital as was too their more progressive folk early '70s incarnation as Fairfield Parlour. The band has often been spoken about with the same reverence reserved for Pink Floyd's Syd Barrett era, despite their lack of mainstream success.

This is a 50-50 collaboration with Mark Mortimer, formerly of DC Fontana and The Sorrows, who has always been a fan of Peter's work. Chelsea is more sonic expressionism from the two musicians; the songs are "psychedelic" in a sense without ever falling into the trap of being shoddy xeroxes of past glories. As Spill Magazine put it:"This is not a retro or throwback album. This is an album that may be ahead of its time." This is modern, forward-looking music that longtime Kaleidoscope fans will enjoy.

The album is produced by Julian Cope producer Donald Ross Skinner in London and Rick Reil in New York.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The touring and promotion for The House Of Love took its toll on the group with
lead guitarist Terry Bickers leaving the group to be replaced with Simon Walker.
Taking its name from a Peter Blake painting, Babe Rainbow was released in July
1992. Overseen by The The and Julian Cope producer Warne Livesey, it has a
tremendous urgency and greater unity than their previous album. Trailed by the
single The Girl With The Loneliest Eyes, Babe Rainbow also contains live favourite
Crush Me, the brooding High In Your Face and Top 50 hits Feel and You Don't
Understand. Simon Walker left the group and was replaced with Simon Mawby,
who himself was to depart by the end of 1992.
This re-issue replicates the original 1992 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
Released in July 1993 Audience Of The Mind makes a claim for being the great
lost House Of Love album, slipping into the UK charts for a solitary week, and
having no singles taken from it. Self-produced and recorded as a three-piece in
under two weeks, Audience Of The Mind feels as fragmentary as 'The Butterfly
Album' feels fulsome. There are some great moments – the moody-yet-melodic
Haloes, Shining On (featuring a guest appearance from guitarist Sean O'Hagen),
the eight- minute Into The Tunnel and the acoustic title track with Chadwick
sounding something like an aggrieved indie Nick Drake. It is a work ripe for
rediscovery.
This re-issue replicates the original 1993 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.

Miss Tiny is a brand-new musical project featuring acclaimed record producer and Speedy Wunderground label founder Dan Carey (Wet Leg, Slowthai, Fontaines D.C.) alongside Ben Romans-Hopcraft of Warmduscher / Insecure Men / Childhood fame.

A spiritually, and methodically united front, Miss Tiny’s universe is a thoroughly explored romance between heritage, rebellion, and years old friendship; a triptych of variables all gravitating towards one signalled output, with no real sense of time, or external pressures. Having spent the best part of a decade orchestrating haphazard jam-sessions, Carey and Romans-Hopcraft would eventually go on to discover a fundamental principle of their own. One which would come to define Miss Tiny, throughout her various forms and guises.

“We called it anti-recording,” continues Carey. “Only doing it for the pleasure of doing it”. When fully committing to this practice, the music meticulously follows two courses; refine, or degrade. Perfect the moment, or let it go; never to be heard, or re-lived ever again for fear that the action of pressing record, would inevitably take ownership of the occasion and lead the experimentation into a downward spiral towards something all-together tangible.

The irony of a seminal producer and critically revered musician banding together out of mutual distaste for recording, is not one that’s gone amiss. In fact, they’ll be the first to proudly call it into question- and yet still, Miss Tiny holds her own despite all peripheral associations, and would eventually go on to be documented. These aren’t ‘sit-down-and-write-a-song’ kinda songs. These spurts of spontaneity which would, in time, ultimately form the duo's debut EP ‘DEN7’, are years’ worth of trial and error. Trial and elation. A process in which strong technique and melodic-manipulation are the sole foundations required to reinvent the meaning of memory; be it guitar and drums, or flesh and blood.

Produced and recorded at Carey’s ‘Speedy Wunderground’ studio in Streatham, ‘DEN7’ is a masterful introduction to a group whose members need none. Through chopping, editing, and re-defining their improvised segments into songs which they could eventually go on to learn, Carey and Romans-Hopcraft by chance, stumbled upon gold-dust. Like Alice and her looking glass, our two protagonists effortlessly pass through all notions of engineered logic in order to see beyond the expected. The bigger picture perhaps. Or the magic in the small things that matter most.

Third season and third album in 2023 for infamous french punk legends Ludwig Von 88. That's what happens when you turn 40. In one year, you make up for everything you haven't done in four decades. And since Ludwig Von 88 have always done a lot, they catch up a lot. After "L'Hiver des Crêtes" ("Winter on the ridges") and "Le Printemps du Pogo" ("Spring's Pogo"), here comes "L'été du No Future!" ("Summer of No Future").

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

Unter dem Namen Miss Tiny findet sich ein besonderes Duo zusammen. Benjamin Romans-Hopcraft (Childhood, Warmduscher) erschafft mit dem Gitarristen und Produzenten Dan Carey (Wet Leg, Fontaines D.C., Foals) ein Universum durchdrungen von Erinnerungen, Rebellion und einer jahrelangen Freundschaft. Produziert und aufgenommen in den Speedy Wunderground Studios in London und selbst als „anti-recording“ (Miss Tiny) bezeichnet, findet Miss Tiny auf der Debüt EP eine Stimme und lassen sich in keine Genregrenzen verbannen.

Soul music originated in the African American community throughout the United States in the late 50s and 60s. Having its roots in African American gospel music and rhythm & blues, it became popular for dancing and listening with prominent record labels as Motown, Atlantic and Stax.

On this 2LP compilation classic soul songs by Curtis Mayfield, Marlene Shaw, Bill Withers, and Aretha Franklin are paired with funky soul stompers by James Brown, Sly & The Family Stone, The Isley Brothers, and poetic soul by Gil Scott-Heron, Marvin Gaye, The Impressions and many more influential artists and groups.

Soul Collected is available as a limited edition of 2000 individually numbered copies on yellow (LP2) and orange (LP2) coloured vinyl and includes an insert.

Lendas is the Brazilian guitarist Fabiano do Nascimento’s fifth album for Now-Again Records. Like his previous albums Prelúdio and Ykytu, Lendas features do Nascimento’s compositions, this time with orchestral arrangements by Vittor Santos and also special participation by Arthur Verocai. Vittor Santos is a composer, arranger, trombonist and music producer from Rio de Janeiro, who has worked in Brazilian music for over thirty years. Do Nascimento and Santos met in Rio in 2017 during the recording of Do Nascimento’s hero, and 70s and 80s Brasilian guitar catalyst Carioca Freitas album Aquarelas. The two bonded over a mutual appreciation for Do Nascimento’s uncle Lúcio and the Bossa Nova star Leny Andrade, both of whom largely influenced Do Nascimento’s musical foundation. In Santos, Do Nascimento found an arranger who was sensitive enough in his orchestrations that he could create an orchestral dialogue between stacks of strings and Do Nascimento’s plaintive plucking. It was only natural to invite the highest regarded, now legendary, 1970s Brasilian arranger, Arthur Verocai, to contribute. Verocai, who had worked with Do Nascimento on his forays in Los Angeles, was pleased to participate. In this way, the circle of old and new, so crucial in Do Nascimento’s work, comes together and flows outwards. “Lendas” translates from Portuguese as "legends,” but the literal translation itself doesn’t describe this album. With Lendas, Do Nascimento recalls memories from places that no longer exist; from fever dreams in the Amazon; from parts of the world we might never see or engage, but can imagine through music. Fabiano Do Nascimento’s Brazilian guitar meets a full orchestra arranged by Vittor Santos and with special participation by Arthur Verocai and his string quartet. Lush yet lively, standing alongside Jorge Ben’s work with Verocai, and Tom Jobim and Baden Powell’s work with Vinicius de Moraes..

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

Foundation music are proud to present our second project with the formidable talent that is Crooked Man aka Parrot, known to his mother as Richard Barratt.

The DJ turned producer from Sheffield, founder and resident at the seminal Jive Turkey night, member of Warp’s Sweet Exorcist, musical partner with the late great Richard H Kirk (Cabaret Voltaire), producer to such maverick talents as Roisin Murphy and Add N to X, longtime Jarvis Cocker collaborator and remixer to a myriad of artists over several decades.

More recently, Parrot's project with internationally renowned Jazz singer Lady Blackbird, Athletes Of God, released two singles on Foundation Music ‘Don’t Want To Be Normal’ and the clubland hit ‘Fontella’ that were both playlisted by 6Music.

Lady Blackbird now flies the nest, with the divine Earth Angel swooping into her place. A seminal, reclusive, heavenly voiced singer, also from Yorkshire and with deep roots in the soul and dub scenes… And no, it's not Lisa Stansfield!

A project that has its roots way back in the Sheffield’s Blues parties and Jive Turkey itself. The club being a home to all forms of exciting new Black music, from ’85 through to the early days of the UK’s dance explosion. It sees Parrot take all that he has achieved, written and learnt over the years at the cutting edge of electronic, dance-inflected, production and DJing returning to those heady days of down tempo, body moving, speaker shaking music that would move the British underground soul/funk scene in the mid to late 80’s.

Call it 'street soul', '80’s soul', 'electro soul'… Earth Angel is all of those things but it is also very firmly rooted in the NOW! Not some retro pastiche, it incorporates so much more. With elements of techno, bleep, dub and any other studio trickery that Parrot cares to employ in order to suck you into Earth Angels’ druggy, hypnotic, sexy, “Mogadon Soul”. A four songed, eight tracked vinyl EP, featuring some classic songwriting from the glory days of soul and Crooked Man’s bass heavy electronic rhythms.

Welcome to the heavenly world of Earth Angel, the journey starts here.


DJ Support:

Luke Una, Ross Allen, Sean Johnson (ALFOS) & Kebal.