Cerca:has been

For nearly twenty years, Dirty Heads have been mixing hip-hop, reggae and rock to create a unique sound that both fully embodies their Huntington Beach, California roots and resonates with audiences around the globe. Having gone viral on TikTok with their hit song, 'Vacation', which has over 6 billion streams and views on the platform, Dirty Heads has amassed over 3.5 million monthly listeners on Spotify. Their highly anticipated new album 'Midnight Control' features 11 new songs that include their take on Joe Walsh’s 1978 hit 'Life’s Been Good', 'Rescue Me' and 'Island Glow'. The band’s 8th studio album, it is sure to reaffirm their outstanding track record with all seven of their albums having appeared in the Top 10 of Billboard’s Top Independent Albums Charts & Billboard’s Top Alternative Albums Charts.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Anthology introducing the first of a series of albums based on the concept of Aquapelago.

‘’ Since the earliest days of the planet there has been a rhythm of tides that creates coastal interzones where humans have foraged and pursued various livelihoods. Developing boats to fish from and technologies that enabled them to immerse themselves deep underwater, the aquatic realm has been one explored, experienced and imagined in various ways. In an effort to express the vitality and richness of this environment I coined the term aquapelago in 2012. The wordplay was deliberate. The neologism was designed to distinguish the liquid inbetweenness of this space from the dry, scattered, lands of archipelagos.

The concept of the aquapelago coalesced around themes taken from various places. Epeli Hau’ofa’s idea of an Oceanic “sea of islands’” was formative but a number of songs were also inspirational. Torres Strait islander Seaman Dan captivated me with his experiences of pearl diving in the Darnley Deeps in his song ‘Forty Fathoms’ and Norfolk Islander singer Kath King imaged how sea-turtles might have experienced ecological change in her song ‘Tech me how fer lew’. Other reflections on watery realms also appealed. Debussy’s solo piano piece ‘La cathédrale engloutie’ soundtracked me as I researched myths of lost Lyonesse while Mike Cooper’s Kiribati, an ambient exoticist album about the imperilled archipelago (recently re-released on Discrepant), caused me to reflect on the social and cultural impact of sea level rise before that topic became a high-profile concern.

This compilation album takes the concept of the aquapelago into new depths and breaches it on fresh shores. The tracks are soaked with the aquatic. Bassy sonorities boom as if heard deep underwater. Bubbly textures breach the surface, water drips and seabirds soar high above waves. Sugai Kei samples fragments of text concerning the Ningen, a fantastic humanoid/whale that reflects the ‘aquapelagic imaginary’ of modern Japan and its preoccupation with industrial whaling. Andrew Pekler continues the orientation of his Phantom Islands project - a sonic atlas of imaginary places - with a soundscape as if heard by a swimmer just offshore, mixing sounds of the island and the sea together. Mike Cooper’s sonic reflection on Hong Kong’s Lamma Island is similar, combining the island’s ubiquitous barking dogs with the slurp of waves on rocky shores, conjuring a languorous time before Chinese crackdowns on the territory.

Taking another tack, the Dead Mauriacs gleefully water-ski through collage of tropical island exoticisms, replete with glitchy orientalism, while Babau combines skittering idiophone melodies with resonant glissandi. Vica Pacheco moves between dense and airy sounds, as if crossing between surf lines and the space above. Yannkick Dauby’s track is also imbued with in-betweenness, evoking ambient sounds heard through a ship’s hull. Sculpture’s ‘Froth Surfer’ realises its title, with bubbling sounds and rhythms that evoke Hawaiian surfing filtered through layers of time and distance. Reminding us of the shore necessary for aquapelagic spaces, Franceso Cavaliere and Tomoko Sauvage’s composition anchors the album, centred around shaken rhythms and resonant ringing tones and drones.

Taken together, the album sketches the contours of the aquapelago as it might be imagined and conjured in sound – an endless oceanic realm that laps on to beaches and crashes against cliffs. The performers navigate this space under alternately starry and cloudy skies, orientating themselves with sounds, textures and sonic samples of their terrestrial homes while we float with them. ‘’
Philip Hayward December 2021

A premiere recording from the Talujon percussion ensemble of The Plains at Gordium by composer Petr Kotik, whose pioneering work as founder and leader of the S.E.M. Ensemble has been a stalwart champion of the Avant-Garde from its inception, at the Center of the Creative and Performing Arts, SUNY/Buffalo, in 1970 to present day. Well-loved recordings by the S.E.M. Ensemble (Julius Eastman: Femenine, The Entire Musical Work of Marcel Duchamp, Morton Feldman: For Philip Guston) are easy to find. That has not been the case for Kotik's own music. This beautiful recording of a relatively recent work by Kotik provides a beguiling, labyrinthian entry into Kotik's own musical vision.

We are proud to present he latest from Turbo Recordings Executive Honcho Tiga, a massive ode to passive-aggressive income remixed by Héctor Oaks, Der Zyklus, and Decius.
“No one wants to work their body anymore,” says the Montreal merrymaker from atop a throne in the exact shape of a digital wallet. “I get it. Who wants their surplus sweat equity vacuumed up off the dance floor by corporate parasites when the real future’s in decentralized skanking? But that’s why people in my position - the top one-percent in terms of nightlife and hospitality take-home pay - have to offer real benefits to risking it all in the clubs. I’m talking dance-move insurance, competitive drink ticket packages, and - most of all - the kind of brick-and-mortar bangers Rhythm Nation was founded upon back in 1814.”
While gratingly content with the original version, Tiga has nonetheless chosen to flood the Marketplace of Ideas with a plurality (3) of voices he feels will optimally position this release in today’s unforgiving Neo-Centrist landscape. This stunning grassfed vinyl 12” opens with a remix by Berlin-based vinyl-only DJ Héctor Oaks, who has been described as “operating at the absolute vanguard of rave.” Please remember that describing people this way is basically injecting them with Imposter Syndrome.
The release also features a remix by Der Zyklus, an alias of Gerald Donald, the epochal genius from Drexciya, Dopplereffekt, Japanese Telecom, Abstract Thought, Zerkalo, Zwischenwelt, and many other fantastic projects. Finally, Decius closes out the EP with all the British Mischief you might expect from UK luminaries from Trashmouth Records, Fat White Family, and Paranoid London.
"I’ve designed my entire life around the concept of ease,” adds Tiga. "I never wanted to work for a law firm. I wanted to make beats for a law firm. I’ve always been selfemployed, and that why my street cred’s off the street charts. And I’ve let as much of
that freedom trickle down to the audience as I can. Because when it comes to music,
there’s no such thing as an acceptable minimum wage. You gotta know that you gotta
give it all you got or you’re gonna get got.”

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

Bay Area Thrash Metal legend Blind Illusion returns after 34 years with a follow-up to “The Sane Asylum”, featuring Doug Piercy (ex-Heathen) and Andy Gallon (ex-Death Angel)! Thrash as a primitive, earthy genre has given us many greats: Metallica, Slayer, Exodus, Death Angel, Heathen and the like. But the more calculated, technical, and ultimately colorful inventors of progressive Thrash, a genre that blossomed handsomely after Watchtower’s debut in 1985, are what truly push the limits of Thrash and test its creative bandwidth. Blind Illusion on their new album “Wrath of the Gods”, achieve this to a degree that has seldom been approached, let alone passed, in the rest of Thrash history, just as they did 34 years ago on “The Sane Asylum”. What is most impressive and revealing about this album, however, is not the technical ability of the musicians involved (although there is nothing wrong with their ability). It’s the pure brilliance that shapes every song, and the demonstration of how focusing on the art of songwriting will work wonders for a band. “Straight as the Crowbar Flies” introduces us first to the astral energy this album exudes, with catchy riffing and Marc Biedermann’s raspy, growling vocals. The screeching guitar solos and the abrupt rhythm changes keep the song fresh, but the band’s incorporation of technical Thrash elements crossed with extremely catchy riffing and drum arrangements proves to be the strong attributes of this album. There are numerous instances where the band finds its virtue in slowing down, letting a power chord ring out, and then letting the drums restart and propel the song once again. When the band decides to let their guard down and get cagey or manic with the rhythm, it’s done so with precision and doesn’t come at the expense of the song structure. When they get technical, the notes still vibrate with emotion, and the song doesn’t just become a vacuum for skills to be shown off. This message is most evident in every song, which all feature catchy guitar licks and great guitar riffs. What Blind Illusion does best on this new masterpiece is deliver cleverly-written and fun songs with catchy riffs. At the heart of Thrash, that’s really all you can ask for. The effects of how masterfully composed this album is has lend the production a unique ethos that makes it feel human. This is a group of guys who know what die-hard Thrash fans want to hear, and they know how to put it on their 2022 album “Wrath of the Gods”.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

Stólar label boss Philipp Priebe delivers his new album ‘Apparent Calm Palms’ this October, joining
the roster of Mainz/Hamburg, Germany’s Feuilleton.
Berlin-based artist Philipp Priebe has been steadily making his mark on the contemporary deep hazy
house and leftfield electronica scene over the past few years with a series of releases on his own
Stólar imprint. Here though we see him deliver his second album following his debut LP ‘The Being Of
The Beautiful’ released on Japan’s IL Y A Records back in 2014. Feuilleton is the brainchild of Chris
Gruber (Fossar) and Tim Eder and since 2018 has unveiled material from the duo themselves, RR
(René Raabe), Snad, Gari Romalis, Melina, Jakob Seidensticker and more.
Throughout the ‘Apparent Calm Palms’ LP Priebe delivers a concoction of styles and sounds cohesively fused together to form the bigger concept which is he tells us is ‘’an album about small towns and
villages and the needs and desires that brings one night out in clubs. The transport/travel, the preparty, all the things that you had to do, when you are not directly living in the big party places, but still
want to have a decent night out, away from your usual suspects.’’.
Throughout the ten-track LP Philipp delivers ethereal deep house with opening track ‘Desires’, the
succeeding ‘Interborough’ and ‘Chimera’, murky dub house leaning cuts like ‘Quiet Decay’, ‘Slalom’, ‘
Unfold’ and ‘Conclusions’ while ‘Transfiguration’ showcases a more classic Chicago House influence.
Title-track ‘Apparent Calm Palms’ and the interlude ‘Behind Their House’ then see Priebe offer a foray
into textural ambient sounds, once again showcasing his unique ability to craft raw, understated and
emotion fuelled material across a variety of genres.
Mastering by Sven Weisemann and Lacquer Cut by Stefan Betk

Alternative rockers Barenaked Ladies are best known for their hit singles, “One Week”, “The Old Apartment”, “Pinch Me”, “If I Had
$1000000”, “Brian Wilson” and the theme song for the sitcom The Big Bang Theory. Revered for their light-hearted, comedic performance style and humorous banter between songs, improvised raps/songs are staples at most concerts. They have won multiple Juno Awards and have been nominated for Grammy Awards. The group has sold over 15 million records including albums and singles.

Stunt (1998) is their fourth full-length studio album, and by far their most successful. It entered the US Charts at third place and sold over 4 million units by the end of its chart run. It is one of the best albums the Barenaked Ladies has released. Its first single, “One Week” became the band’s breakthrough single in the U.S. market by topping the charts, and also entered the top 10 in the UK.

Stunt is available as a limited edition of 3000 individually numbered copies on translucent yellow coloured vinyl and includes an insert.

It has been a long time coming as they say and now the second full length album from UK producer 2econd Class Citizen is ready for release. Having spent the past year collaborating with and remixing DJ Food, touring Europe with US artist cars&trains and remixing artists such as Loka and Dday One, 2econd Class Citizen also managed to fit in some studio time and is back with his signature sound on "The Small Minority", his follow-up to 2009's lauded "A World Without".

Re-pressed at last!! Limited purple vinyl. The cultural phenomenon that is the Wu-Tang cannot accurately be described without referencing one of the pillars in the Clan's discography, Chef Raekwon's Only Built 4 Cuban Linx remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred "Purple Tape", has been cited and debated by many as the greatest Wu-Tang solo project to date and a remains a bullet point in any discussion involving the greatest "Cocaine Rap" or "Street Hop" albums of all time. Raekwon's narrative, plays out like a movie script from the violent, drug fueled, underbelly of New York City's criminal landscape, intricately woven over instrumentals from the legendary mastermind behind the Wu-Tang Clan, The RZA. Even the album's main feature "Tony Starks aka Ghostface Killer", referred to as such rather described as a "guest star" appearing on 12 of the albums 18 tracks. It should be noted that while the Only Built 4 Cuban Linx did produce a string of successful singles, such as "Ice Cream", "Incarcerated Scarfaces", and "Criminology", like all classic cinema, the album was intentionally engineered to be appreciated in one sitting, played from beginning to end. In continuing with it's proud tradition of honoring historically significant hip hop albums, Get On Down is honored to present Raekwon's "Only Built 4 Cuban Linx" for the first time ever on double translucent purple vinyl housed in a high density resealable poly bag. This edition features for the first time ever on vinyl, the formerly CD only bonus track, "North Star (Jewels)". And if that wasn't enough, the entire album also features completely enhanced and painstakingly remastered audio. This is the definitive must-own vinyl edition of Raekwon's masterpiece.

Pronounced 'CLIT DRIP' for those confused or too shy to ask, CLT DRP have been turning heads since 2017. The genre-bending trio's non-apologetic and yet playful approach has seen them garner praise from TheLineOfBestFit, Gigwise, and plenty more. Their music gets you moving, invites you in with power, and makes you question your environment and yourself. In their time, CLT DRP have already supported Nova Twins, Warmduscher, among others, and performed at 2000trees and ArcTanGent festivals.

Star Feminine Band: a 2020 debut, first journey and a 2022 return! Though not exactly a world music label, Born Bad took up the challenge and released Star Féminine Band's debut album in late 2020. Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. After a long delay, the band finally managed to get to Europe, performing on the Transmusicales Festival, as well as for TV stations like Arte, TV5 and BBC to much acclaim. "Once they played, Born Bad and the band clearly had a "mission accomplished" feeling - that all the energy put into this was worth it, starting with the critics who abounded at the Transmusicales to weigh the phenomenon. They left convinced, just like the audience, enthralled by the direct, live formula. The sequel to the adventures of these new ambassadors for Unicef? They persist and sign with a feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. Often out of school and destined to selling peanuts, bananas or gari on the roadside, most of the girls around there don't have a future. Forced marriage, precocious pregnancies_ "These kids are heroines!", continues Born Bads JB who, by welcoming them in a record studio, allowed for the formula to be sharpened into a sort of garage band with an afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over videoconference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Vinyl LP in printed under sleeve with French + UK linernotes + Download code * Digipak CD includes 12 pages booklet with French + UK linernotes.

The world has been patiently waiting for the return
of one of indie rock’s most beloved and treasured
bands. Alvvays are pleased to be putting everyone
out of their misery by announcing their new album,
‘Blue Rev’, released via Transgressive.

The highly anticipated album is well worth the wait,
with 14 songs hitting all the right chords and
cementing their cult status. ‘Pharmacist,’ the first
track on the album, is an exciting jumping off point
for what is sure to be one of the albums of the
year.

LP pressed on turquoise vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

First released in the summer of 1966, ‘Yardbirds’ (or ‘Roger The Engineer’ as it became known’) showcases the
Yardbirds at the peak of their powers. Featuring the classic line-up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja,
and Paul Samwell-Smith, the group explored explosive new sonic territories, pushing their blues-rock sound into the
realms of the avant-garde, psychedelia and Indian music.
• This new edition has been expertly cut from the original stereo tapes using precision half-speed mastering by
Cicely Balston at AIR Mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating
an incredibly detailed stereo image with a natural high frequency response.
• Pressed on 180g heavyweight vinyl, featuring an obi strip and housed in a poly-lined inner sleeve. Also includes a
4-page booklet with extensive liner notes by David French based on interviews with Jimmy Page, Paul SamwellSmith, Jim McCarty and Simon Napier-Bell.

American thrash metal band Whiplash released their debut album Power And Pain in 1986 on the Roadrunner label. The backing vocals were recorded by Rob Kabula & Vinny Stigma of Agnostic Front and Peter Steele & Louie Beateaux of Carnivore. The band has been centred around guitarist and vocalist Tony Portaro, but are also notable for their drummer Tony Scaglione, who left the band after the album release to tour with Slayer.

Power And Pain is available as a limited edition of 2000 individually numbered copies on silver coloured vinyl and includes an insert.

Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK.

Their latest long play takes its name from the solar deity of the slavic pantheon, Dazhbog - the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. We can find cycles in nature, music and life itself can be thought of as a cycle, from the micro to the macro scale.

As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog’s music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo’s influences, from the obvious portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of north-american jazz and psycho-acoustic hallucinations and the hash transients of electronic music.

Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of 8 tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences. The album will come out on vinyl in late March, in time for the pagan celebration of Spring and Fertility.

This autumn Ludwig A.F. aveils his first full-length album project.

It is a very personal collection of ten pieces inspired by a special location near his home in the Taunus region of Germany. He recorded the songs as soon as he returned to his studio, inspired by the atmosphere of the place. He has been collating the pieces over the course of almost a decade.

“Air“ is an atmospheric and ambiguous collection of music that at times is rhythm and sound design driven but mainly focuses on the home listener with its picturesque melodies and ambiances.

“Air” will be in stores digitally and physically on October 7th 2022.

Since a couple of years there has been a lot of data transfer between the thief and the rat. After the first bytes got exchanged, it was clear they speak the same code: Communication on the basis of rhythmic structure! After some interferences and transmission drop-outs, we can finally announce the transfer is complete and will materialize in form of a 12'' vinyl record. Data Theft is a six piece strong selection of Rhythm Beat Master ship. It will be difficult to find more bang for the bug anywhere else. You can now own this magnum opus that is Rat Life Records 20th release!

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Adding to what already has been a tremendous year for the Berlin-based producer, Nat Wendell returns home for his third release on his very own imprint, Depths of My Soul. On the surface, DMS 003 may appear to be vintage—and pulsating—Wendell. Under the cracks of these three tracks, though, is a producer moving towards music as a tool of political and musical advancement.

A1’s “Takes These Chains off My Mind” is an explicit cry from liberation away from mental slavery, an anthem for, in the words of Wendell himself, people “emancipating themselves from mental slavery, placed on black and people of colour alike.”

B1’s “Tha Music” plays on similar ideas of music as liberation, jolting dancers into submission with its rolling hats and snappy arrangements that will easily fit into any house head's bag. Judging by the name,

B2’s “Questioning Existence” may seem a tad existential—but, taking a late-nite 90’s garage cue from his own hometown, it’s anything but!

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

In response to the current political and ecological turmoil, the famous Malian quintet BKO appeals to the magical spirit of the djinn with Djine Bora (the appearance of the genie). An explosive and mystical third album, embodied by a music of resistance, the fruit of their unique experimentation with Mandingo music and their extraordinary history

The three letters B.K.O. are the code for Bamako airport. It is in the Malian capital that the group has been rehearsing since 2012. In the same year that Mali declared a state of emergency, no one could have imagined that these musicians would be responsible for three albums and over 450 concerts in 25 different countries. BKO fights, does not fail, unifies and looks like no one else.

In this album, the band delivers an abrasive music where tradition is tinged with rock, polyphonies, distortions and shrill breaks. They invoke ancestral spiritualities by marrying for the first time in Mali
two diametrically opposed traditions.

In the course of the ten tracks of Djine Bora, BKO propels the traditions within a powerful and hybrid universe, just like Bamako. In this bewitching atmosphere, crackling concrete and ritual ceremonies
meet. The group has released one of its most accomplished albums, tinged with trance, enigmatic melodies (Ntiaro's Peulh prayer) and unifying messages (Maya, Bamako, Toumaro).

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

One of the UK’s most consistently inventive production minds of recent times, Lil Silva has perhaps one of the most varied resumes in the world. Causing a seismic effect on the world of club music with smashes such as ‘Seasons’ and releases with the likes of Night Slugs, production credits for a diverse range of artists such as Adele, BANKS, Mark Ronson and serpentwithfeet, and a collaborative project with George FitzGerald as OTHERLiiNE even before factoring stellar solo releases under the Lil Silva moniker using his own vocal, he has continuously combined a broad range of influences to create a transformative, varied discography. After the release of ‘Backwards’ last month alongside Sampha, today Lil Silva announces his long awaited debut album, Yesterday Is Heavy.

Over 10 years in the making, ‘Yesterday Is Heavy’ is a cumulative product of an already remarkable career filled with highlights. An album about stepping out: outside of a comfort zone, and, for Lil Silva, outside of himself. It’s a debut album of heft and heart, but most of all hope – and trusting the process. Buoyed on by the encouragement of long-time collaborators like Jamie Woon and Sampha early in his career (they both implored him to commit his own voice to record), and bolstered by incomparable session experience working with Mark Ronson, Adele and more, the Lil Silva story that started aged 10 in Bedford is beginning full circle. Created primarily in the town he grew up in (and continues to live now), the pervading solace of home courses through the project, while providing the thrilling moments of sleight of hand that Silva has always been capable of.

As he so often does, Lil Silva shares the spotlight with an astonishing international cast of guests. He fuses well-versed modern legends in the shape of Sampha, Ghetts, and Little Dragon with rising stars serpentwithfeet, Charlotte Day Wilson and Skiifall to thrilling effect, the whole time never allowing his deftly dynamic yet considered touch to be outshone throughout. The album has also been created with musical direction from Louis Vuitton musical director and BBC Radio 1 tastemaker Benji B, as well as creative direction from award winning visual artist BAFIC. It’s with the opening track ‘Another Sketch’ however, where his singular talent introduces itself.

With a visual directed by UKMVA Award winner Fenn O’Meally, ‘Another Sketch’ is a prime example of the vast array of talents that Lil Silva possesses. A video that transcends generations of Black Britons (featuring Lil Silva’s own family as well as Sampha), ‘Another Sketch’ focuses on the subject of time. Looking at generations of black britons as monuments, the visual centres on the idea that despite time being able to wear down your appearance, what’s inside of you can never depreciate. The main centrepiece of this is heritage, with archive and newly recorded footage showing Silva’s family and friends enjoying the same activities they did generations ago, spliced with footage and voice notes from one of the lands of his dual heritage, Jamaica. The track itself focuses on a central theme of actions, their consequences and changing our inevitable future, with Lil Silva’s stunning falsetto shining alongside background vocals from serpentwithfeet and an instrumental that initially opens minimalistically before gradually unfurling to unveil elements of his electronic beginnings; a thumping hip hop infused beat and swelling melodic embellishments.

With ‘Yesterday Is Heavy’, Lil Silva reaps the rewards of over a decade of influence to create the debut album he’s always imagined. Simultaneously riding the line between pertinent storytelling and virtuosic production, ‘Yesterday Is Heavy’ charts the story of one of UK music’s unsung heroes taking his time to build something that is truly timeless. Yesterday Is Heavy, but tomorrow is forever.

“If you can’t say it, you don’t have to,” sings John Fullbright on “Bearden 1645,” the opening track to his new record “The Liar,” out September 30, 2022. The song details Fullbright finding refuge in playing the piano, starting as a child and still today. For fans, it may feel like a bit of a rebuttal to “Happy,” the opener from 2014’s “Songs,” one of several in his repertoire that speak explicitly about mining one’s angst in order to make music. In that way, “Bearden 1645” is also a firm nod to the fourth wall: Fullbright knows you’re thinking about his songwriting. He is, too…but not quite the way he was before. The public at-large hasn’t heard much from him since the critically lauded “Songs,” a chasm of eight years that seemed unthinkable for an artist with so much hype surrounding his early career. Why did it take so long? “Honestly, I don’t know, and that’s been the scariest question to think about and the hardest one to answer,” Fullbright said. Maybe it was a tacit rejection of mounting industry pressure, mixed with a little fear. Or maybe it was the adjustment to a massive upheaval of his way of life. Whether we bore witness or not, it’s been a critical period of change for Fullbright, now in his 30s. Since his last release, he moved out of rural Oklahoma—the aforementioned Bearden has a population of about 130 people—to Tulsa. Once there, he worked to build a place for himself in the context of an established and vibrant musical coterie, performing often as both a bandleader and, more curiously, a sideman: storied loner John Fullbright lugging a piano from this small stage to that one with an uncharacteristic looseness. “It’s been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriter…just playing something that has a beat and is really fun,” Fullbright said. “That’s not to say there are no songs on this record where I depart from that, because there are, but there's also a band with an opinion

Superdownhome's new record is called Blues Pyromaniacs - It was
recorded in New Orleans in January 2020 and produced by Anders
Osborne
"Then the virus stroke and we, consequently, had too much spare time… and idle
hands are the devil's tools, so we've constantly been working on the tracks for
almost two years. That's the reason why the record is going to be released in two
very different versions: the vinyl edition contains the original US recordings, the
cd/digital version contains four extra tracks. It has been mixed in Italy in a very
different way and the mastering has been made by Brian Lucey (The Black Keys/
Arctic Monkeys/Royal Blood). And, last but not least, there are two very special
guests: Mike Zito on two of the tracks and Bombino on another.