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If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

All tracks from 2021 transfers and newly remastered - LP editions include a booklet featuring unseen photos and liner notes by Lenny Kaye, plus contributions from Nick Cave and Devendra Banhart // Karen Dalton's 1971 album, In My Own Time, stands as a true masterpiece by one of music's most mysterious, enigmatic, and enduringly influential artists. Celebrating the album's 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track. All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. A newly expanded booklet-featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart-rounds out the CD (32-pgs) and LP (20-pgs) packages.

Like many debut solo albums from musicians in bands, Jared Mattson’s Peanut didn’t originally come from a need to break away. As a composer for the Mattson 2, Jared Mattson was working up a batch of new songs through the winter of 2019-2020, looking ahead to the next album he and brother Jonathan Mattson, the blitzkrieging drummer, would record. As the pandemic hit stateside, Jared holed up in his home studio and kept developing the new music. And during that process it became increasingly clear to them that this wasn’t shaping up to be the next Mattson 2 album. This was a Mattson 1 album.

Jared had been absorbing the guitar work on records by reggae stalwarts Aswad and Burning Spear, and also the Police’s Andy Summer and the ways he gives songs space. And Jared wanted a prominent bass sound, too, where the guitar itself sometimes settles into the passenger seat so that the bass can drive. Lyrically, the album taps into our rattled world, where anxiety, loss, violence, and regret are sometimes pierced by the promise of love. The time spent working on the album was a profoundly introspective time as he reflected on past relationships while living through and writing during the pandemic, he also never lost sight of this truth about himself: Life is great with music.

One of the album’s standout highlights is “Burn Down Babylon,” which is propelled by the bass’s funk-you-say groove. You don’t often encounter many pop songs with so blunt an opening line as, “I got punched in the face last night by a neo-Nazi,”—a true experience that was delivered many years ago in a bar brawl in Carlsbad, California. But to hear the music that goes along with this tale manages a vibe that is less melee and more backyard jubilee.

When “Please Come Here,” with an intro that slinks along like a Cadillac on a Sunday morning drive, kicks in, it’s typical of the album’s melodic pop flourishes, but the twist here is that the vocals are in Japanese (The Mattson 2 have toured Japan 20 times and covered many Japanese pop songs on 2018’s Vaults of Eternity: Japan). Ween’s “She Wanted to Leave” is the lone cover, but the way Jared reimagines the song makes it fits seamlessly within the album’s sonic template. The song’s inclusion was also a personal way to honor one of Jared’s best friends, who died from cancer two years ago. The two had always bonded over the song and marveled at its inherent beauty. Ultimately, Mattson’s solo debut unfolds like a string of fascinating clouds: These are not songs in a hurry; they shift around as they float by, and, most notably, they carry their unique kind of electric charge.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

The New York-based heavy metal band Riot released their third studio album Fire Down Under in 1981, which instantly became their most popular effort and is considered by many to be an early ‘80’s classic. It was the last album to feature the vocalist Guy Speranza.
The album features Riot’s most recognizable and popular tune “Swords
& Tequila” as opening track. Other standouts include the fast-paced title
track “Fire Down Under”, “Outlaw,” and “Don’t Bring Me Down.”
Fire Down Under is available as a limited edition of 750 individually
numbered copies on translucent red coloured vinyl.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

Pressing Info: 180g translucent pink vinyl, limited to 250 copies, download card included. Five years on from their 2018 debut album 'Great Vowel Shift', Lviv, Ukraine-based krautrock outfit Sherpa The Tiger are now returning with their second album, 'Ithkuil, via Fuzz Club Records - with 100% of the profits from the release going to the band to help support them during the war. Where their previous work was centred around vintage synths, minimal ambient and neon-lit kraut-disco grooves, 'Ithkuil' sees Sherpa The Tiger explore more expansive and layered structures and compositions - incorporating intricate guitars, flute, arpeggiators and jazzy piano references, alongside an array of other elements that originate from a broad spectrum of past and present music genres. "This album bears the name of 'Ithkuil' for a reason", the band state: "Like the language we borrowed the title from, the sound of the record has a lot of levels, layers, and orchestral nuances. We consider this album and its pieces a single journey. Every track of the LP works as a mandatory stop for contemplation and reflection that happens on the route of the listener." Sherpa The Tiger began working on the new material in 2019 during their EU live shows in support of 'Great Vowel Shift' and chalk the more textured and cinematic results down to a more collaborative approach. "We wanted to rethink the Krautrock heritage explored on our last album and made a clear stylistic shift that was determined by a totally different approach to our music-making. The tunes on 'Great Vowel Shift' were cooked in a sort of live-looping mode with two musicians jamming. This time, with 'Ithkuil', the process of creation was shared among 4 musicians, and that approach had a great impact on the final result." Several years in the making and now released against a backdrop of war and invasion in their home country, 'Sherpa The Tiger' say that 'Ithkuil' acts as a snapshot of pre-war times: "Since the war caught us in the middle of planning the release as opposed to creating the music itself, the album can be perceived as a wistful reminder of the pre-war life that doesn't seem to be coming back. The life we actually experienced but lost any recollection of and which we are desperately trying to bring back through the music created by the other us now dwelling in an absolutely different reality."

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Hawthorne is the powerful new album and short film from Queens-by-way-of-Detroit emcee Motown Priest, a gifted lyricist with a penchant for writing gripping narratives. More than just a gifted storyteller, he also has a phenomenal ear for production that helps to take this project to another level. It’s a cohesive, poignant, and incredible piece of art that serves as a searing look at the world we all live in today. “This album and film weren’t about cheap moralism or heady preaching, it's a very simple idea of confronting who we are, and who we are affects the world around us,” Motown Priest explains. “This is where Hawthorne, in both music and film, connects.” He’s true to his word, too, because the album’s 12 tracks bang just as hard as they make you think. They’re the type of songs you can sit with and unpack, or you can blast them at full volume to make your system rattle - or both. Tracks like “For Sale” and “The Calogero Effect” boast soulful, nostalgic production that fits their more meditative narratives of succumbing to vices and childhood innocence. On the other hand, “Pandora’s Box” straight-up slaps thanks to its distorted guitars and live drums, while “New Religion” is an aggressive, teeth-gritting banger. It’s all part of Motown Priest’s plan to fully engage with his audience while delivering one of the year’s best releases, regardless of genre and medium. In addition to the album, Hawthorne exists as a short film that further explores many of the same themes (ceaseless desire, identity, and capitalism) through the visual format.Within its 35-minute runtime, the film follows the same protagonist as the album, a young man who seeks change and fulfillment but doesn’t consider the pain and damage he causes along the way. It makes for a damning look at so many cultural ills, and it couldn’t have arrived at a more fitting time.

ElCamino, hailing from Buffalo, New York, had a huge 2022 with the release of his Bethlehem EP with Chase Fetti as well as two solo albums, Let There Be Light and ElCamino 3. ElCamino officially signed to Benny The Butcher’s Black Soprano Family imprint in 2022 and was featured on several acclaimed #BSF releases including “80 Bills,” “We Here” and “Saint Maurice” and the B$F album Long Live DJ Shay. Other collaborations with the likes of 38 Spesh, A$AP Ant, Curren$y, Harry Fraud, Jay Worthy and Keisha Plum have proven ElCamino to be one of the hardest-working artists in the game. His notable performance alongside Wiz Khalifa on “Back to Shore” off of the 38 Spesh and Harry Fraud Beyond Belief album was an easy fan-favorite. Here You Go is another high quality release featuring 9 new tracks with ElCamino standing alone and showcasing his supreme lyrical talent. Pressed On Splatter Colored Vinyl! Limited To 500 Copies Worldwide!

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

Potent, seductive, and raw, Love You Anyway, the new album from singer, songwriter, multi-instrumentalist Devon Gilfillian is an intoxicating, genre-blasting game changer. A musical polymath with a deep knowledge and love of vintage soul, R&B, rock and hip-hop, the Philly-born, Nashville-based artist’s second full-length LP re-imagines modern soul music by redefining its possibilities. With an incisive eye and unassuming swagger, Love You Anyway, ignites the mind, and makes the body move. Produced by Jeremy Lutito (Joy Oladokun, NEEDTOBREATHE) and recorded in Nashville, Love You Anyway, confronts as well as comforts. Chronicling Gilfillian’s journey as a Black artist living in the tumult of 21st century America, the album’s 10 original tracks, (all co-written by Gilfillian) are as much about fighting for what you believe in, equity and representation, as it is about love: finding it, making it, and channeling it into every facet of our lives.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Black Swan is available as a limited edition of 750 individually numbered copies on silver and black marbled vinyl and includes a 4-page booklet.

yellow marbled vinyl / full colour sleeve / incl. dl code
VISION proudly presents Icicle's third and final album 'Post'.

"Its been a long time since I announced any music let alone an album. Containing 12 tracks, it comprises modern production with raw 90's inspired tech dnb, some techno hybrids and a little brain-melter here and there. It's been a strange journey, writing it largely during the pandemic and hard to finish in near isolation. But I'm really proud to see it released and for it to be heard!"

ARIA double-platinum six-piece act, Winston Surfshirt, are releasing their third full-length album, Panna Cotta .

A recipe of collaborative dreams, Panna Cotta sees Winston Surfshirt work with a wish-list of his favourite artists, seeing career-defining partnerships produce 15 tracks of accomplished and star-studded material. As Winston sings and swoons to ideas of love and life, a stand-out lineup of players and musicians step into the Winston universe, including Talib Kweli, Kimbra, Genesis Owusu, Dope Lemon, Young Franco, Ramirez, Devin the Dude, Milan Ring, and more, sending the signature Surfshirt sound into uncharted realms.

Winston says on the forthcoming album: “Panna Cotta is the last dessert on the table, something for everyone to try, a bunch of different ingredients mixed together. I’d say it is my dream album that I wanted to hear Winston Surfshirt make.”

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.

"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

Frankfurt's celebrated producer, Philip Lauer returns to Especial, this time teaming up with Berlin based vocalist Dena for a special collaboration, covering Julie Stapleton's soulful House classic with a modern interpretation across a number of versions (vinyl and digital).

After the success of the Hotel Lauer EP on Especial way back in 2016, Lauer has continued his ascendency with albums for Permanent Vacation and Running Back, as well as releasing a string of sure-fire, dancefloor friendly EPs for the likes of Cin Cin, Futureboogie and Skatebard's Digitalo Enterprises.

Born and raised in Bulgaria, before making the move the music mecca of Berlin, Denitza Todorova has a carved a path with her electronic, dance pop stylings across releases for the likes of K7 and Kitsune Music. First appearing on Make It Stay from Lauer's last album, it jumped out as the perfect partnership to bring the raw, soulful and uplifting sounds of the cult V4 Visions label up to date. Founded by Alex Palmer, the label was part of the UK's early 90s club sound, releasing street soul, deep house and more, in Where's Your Love Gone, Palmer and 18-year-old writer/vocalist Julie Stapleton hit on the perfect marriage of Lovers Rock and Street Soul yearning with the haunting sounds of US House. Presented as a new take on the classic, but with utmost respect, the EP starts with the Club Mix, a Larry Heard bassline joins a marimba melody, lifting Dena's vocals of youth's lost love and pain. This is followed by the Demo Mix, a warm, beautiful string laden original take that Lauer and the label felt had to be included.

DJ Slyngshot is welcomed to provide a deep, tech remix. A name to watch via his releases on his YAPPIN label and recent EP for Workshop, his remix is an analogue twist of hypnotic, raw dub techno percussion and counter breaks builds as string and piano join. The EP ends in the Synthapella, as bongos, cowbell and whistle are added to create a drifting Balearic version for late summer nights and dawn that highlight Dena's vocals in a 'sunrise' light.

Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies.

Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams.

Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union.

With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different.

In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best.

Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock.

The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey.

To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

From Ellen Allien to U.R. Trax, Miss Kittin to Anetha, or Chloé to Romane Santarelli Discoverall the greatest female producers of Electronic Music in a nice double vinyl LP : Women Of Electro ! - Including - Miss Kittin - Chloé - Romane Santarelli - TDJ - Maya Jane Coles - Anetha - Cinthie The Blessed Madonna - Lilly - Palmer - Helena Hauff - Ellen Allien - Mansfield.TYA DeLaurentis - Grimes - Louisahhh !!! - U.R.Trax - Monika Kruse...

Heels & Souls Recordings’ fifth reissue sees them reach across the Atlantic to Vancouver, pressing up Pilgrims Of The Mind’s 'What’s Your Shrine?' for the first time ever on vinyl, 25 years since its CD-only release on Map Music. A departure from the label’s previous releases, the LP is a beautiful smorgasbord of styles - progressive house, downtempo, ambient, tech house and trance all nestle together, a wiggling journey of sonic delight from the mind of Stéphane Novak.

Turn the dial back to ‘97 and Vancouver's underground had a distinctive buzz to its rumblings, an amalgamation of scenes and styles gave rise to a cohort of producers that were unconstrained by genre, offering up a heady mix of sounds to expand the mind. ‘Welcome To Lotus Land’ the key 1996 compilation on Robert Shea’s seminal Map Music, championed much of this output including two cuts from POTM. Stéphane then released his first and only full-length album, ‘What’s Your Shrine?’ on the same label the following year.

Picking out choice moments from an album as considered and complete as this is tough. Those horizontally inclined will be drawn to the ambient dwellings of ‘Sandcastle’ & ‘Following the Sofuto Kuriimo’, tracks like ‘Nothing Can Pull Us Apart’ and ‘L’Amour? Encore?!’ are perfectly suited to warming up limbs on the dancefloor, ‘My Baby Likes Rum’ and ‘Loosejaw’ prime for one in full swing. Yet to pick individual tracks misses the stunning sum of its parts that this 70+ minute cruise is, surely one of the finest albums from the American West Coast during its halcyon days of the ‘90s.

Digging deep in his vaults, Stéphane managed to uncover the original unmastered DATs that have been given a fresh mastering by Justin Drake at the Bakehouse Studios. This beautiful, double-disc gatefold comes complete with liner notes from Ciel, words from Stéphane himself, plus never-before-seen photography - the complete package this music always deserved.

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

For part 1, Layton Giordani & HI-LO take you down the ‘Rabbit Hole’ on the A side, an epic synth storming techno workout that twists and turns as it pulls you in deeper. On the B, Charles D hits with ‘Traction’ a full-frontal powerhouse that expertly builds the tension before unleashing a gigantic drop ready made to do damage on the biggest systems out there.

‘When There’s Love Around’ is GRAMMY Awardwinning artist Kiefer’s second album for Stones Throw.

For the first time, Kiefer is joined by a full band, including Sam Wilkes, Carlos Niño, DJ Harrison (Butcher Brown) and many more. Release to be supported with extensive global PR / radio campaigns and national and international touring.

For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes.
Kiefer is one of LA jazz’s most exciting new artists, with a broad international fanbase. Previous press and radio highlights include 6
Music, Radio 1 / 1Xtra, Radio 2, Pitchfork, Mojo, FACT, Mixmag, Drowned in Sound. Double vinyl cut at 45rpm for top audiophile
quality. Bonus track ‘thinking of you’ exclusive to vinyl release. (Not available on digital format.) Available to independent retailers on blue and yellow coloured vinyl. Headline European tour in February 2022.

London based imprint High Praise are proud to announce the last addition to their roster. Having released a slew of heralded 12”s on Capitol K’s Faith And Industry Records, Darker Than Wax & XVI Records, London based producer & sound designer Dampé prepares to release his expansive and head-spinning new 12” ‘Glow’. With previous support coming from the likes of Tom Ravenscroft, Dummy, Bandcamp, Boiler Room, Mixmag, DJ Mag and Keep Hush, Dampé showcases why he’s making a name for himself as one to watch in the UK’s vibrant Electronic music scene.

Opening with the hypnotic arpeggio of title track ‘Glow’, the EP launches headfirst into a spinning world of driving rhythms and grainy synth textures. ‘Ravey Emo Tool (Like Me)’ provides a welcome moment of cloud parting serenity. ‘Twenty Two Savanna’ utilizes twisting, contorted breakbeats colliding against trance-like euphoria inducing synth patterns and shuttered vocals. On the flip, second single ‘Clay’ brings a dose of 2-step bounce to the proceedings, with an off-kilter but rock-steady groove. Atmosphere builds steadily as the gated notes and industrial effects of ‘Through The C10’ spill out of the speakers, before ‘King Tide’ brings the 12” to a powerful close with its rippling keys and avalanching waves of low end pressure. A truly impressive offering with incredible attention to detail.

UK Garage legends Groove Chronicles (Noodles & Dubchild) are back with the 'Soul 'N Mind' 12" featuring their highly sought after Brokenstep edits.
These have been on heavy rotation by the likes of Gilles Peterson, Charlie Dark, Bradley Zero, IG Culture and more. Limited hand-stamped and stickered copies, be quick!

Groove Chronicles have releases dating back to 1997 and are legendary in the world of UKG. Founded by Noodles, who is now working with longtime associate, Dubchild. Noodles has been working in the music game for three decades, from spinning at raves in Paris when he was 17, to serving it up behind the record shop counter, to running his own label, DPR. Responsible for bonafide classics like 'Stone Cold', 'Myron' & 'Poor Man's Break', his work serves as a blueprint for many sounds across the UK bass spectrum.

Leicester legend, Dubchild, stems from a musical background of reggae, hip hop, house, garage & jungle. He's released an array of dubstep & instrumental grime records through various labels since the early noughties, including Caspa's Storming Productions & Heavy Artillery, amongst others.

The duo also combine under the moniker Nu-Agenda with their own hybrid house style, and have had collective support over the years from stations such as 1Xtra, NTS, Kiss, Reprezent & Rinse, DJs such as Annie Mac, Zane Lowe, Mary Anne Hobbs & Ras Kwame, IG culture, Charlie Dark, Gilles Peterson, Bradley Zero, Marcia Carr, Afronaught and publications like iD, Fact, DJ Mag & Crack Magazine, to name a few.

Matador makes his debut appearance on Crosstown Rebels with his absorbing new EP ‘My Yellow Coat’, accompanied a remix from NYC house and techno favourite Levon Vincent.

An outstandingly technical live artist, DJ and producer, Matador, real name Gavin Lynch, has a prolific discography with releases on renowned labels such as Minus, Hot Creations, and Cocoon. A resident at Richie Hawtin’s iconic ENTER series in Ibiza, the past decade has seen the Irish talent tour the globe consistently with performances at some of the world’s most prestigious festivals and clubs, including Awakenings, TimeWarp, and Neopop, while featuring in Resident Advisor’s ‘Tip 20 Live Acts’ on three separate occasions. ‘My Yellow Coat’ marks his first appearance on Damian Lazarus’ Crosstown Rebels, describing the debut as “a result all round” with the imprint featuring as a personal favourite of his over the years.

The EP features two original tracks, ‘My Yellow Coat’ and ‘What You Say Is So’, showcasing a dynamic approach to electronic music with a deep dive into rich beds of emotive and spellbinding tones. Title track ‘My Yellow Coat’ is a slow-blooming and delightfully suspenseful production guided by the track’s charming vocals as soft synth melodies and refined percussion build gracefully across its eight-minute duration. . Novel Sound boss Levon Vincent’s dynamic interpretation of the title cut welcomes a new side to his expansive sound, building on his distinctive sound palette and welcoming a shift towards faster realms.

• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

The new album! One of reggae's emerging masters of Reggae / Dancehall & Dubwise production, Alborosie has honed his craft through the creaton of six studio albums (five for Greensleeves). Along the way, he has become the biggest selling European roots reggae artist. His latest album, "Freedom & Fyah" demonstrates his production skill and depth of feel with strong contemporary and authentic reggae jams. All tracks are produced by Alborosie, with most of the songs mixed by the high renown James "Bonzai" Caruso. Featured guests include Ky-Mani Marley on the ballad and first single/video "Life To Me" and Protoje, who have been just voted as best international artist by the Riddim magazine readers, on the track "Strolling" and reggae legends, the Roots Radics band with Flabba Holt on the track "Everything" feat. Pupa Avril. Stand out tracks include "Poser" (which has chalked up already over 1 million YouTube views) and "Rocky Road" which is up to 500K views. "Freedom & Fyah" is availlable as CD-digipak with additional 12-page booklet with printed lyrics and also as LP-vinyl edition.

- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.

There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.