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From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

Los Angeles-based experimental jazz collective High Pulp will release
their new album Days in the Desert in peak sweltering summer heat on
July 28
The titular desert is both literal and metaphorical: it's the Mojave Desert that the
band powers through on their many DIY tours around the country, and the band's
founder / drummer Bobby Granfelt perceives the desert as "a spiritual quest" as
well. Amid the trials of our present moment, you must look within, relying solely
on your own instincts to keep moving forward. "You're in the desert and it's a long,
lonesome process and a lot of times you have to check yourself to ask 'Is this
right? Is this good? Is it too out?'" he says.
High Pulp's Days in the Desert makes this vision come true, finding the West
Coast band fully emerging into their own sound. Rooted in the jazz tradition while
also smitten by indie- rock and electronic music, High Pulp was willing to grab
from all these sounds at once to pursue something truly their own. Their third fulllength album (following 2022's promising Anti- debut Pursuit of Ends), Days in the
Desert reveals the band realizing their strengths, deepening their own bonds, and
pushing all these skills into a thrilling new sonic vista all but unimaginable just a
few years before

Elkan's self titled debut LP is in a way a lifelong album in the making, it contains all the growing pains, internet isolation, losing one's self and finding it again, flourishing and finally releasing. Most of all it's like finding a little portal out of our universe into a new one. It was a bit of an excavation process to make this music available, some don't give themselves away so easily. Elkan's music is humble, quiet at times, but therein lies its power, it's a journey you don't quite come back from, at least not like how you once were. We are very happy to finally be able to share this music, and we hope it will resonate with you.

Pink Vinyl. Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be "the most useful thing to do with pain and joy and thoughts and feelings and anger." That through music we can find great change. "I'm so much better off now that it exists,"she says. "Now feels like a new time." On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: `Brightness entered the study.' "It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It's the idea of life beginning now."

Peter Tosh's final studio album, "No Nuclear War," released in 1987 is now available on 1LP Yellow Recycled, is a profound anti-war statement that underscores his lifelong commitment to peace and justice. The album won a Grammy Award for Best Reggae Album, posthumously honoring Tosh's enduring influence. With tracks like "No Nuclear War" and "Nah Goa Jail," Tosh addresses the perils of nuclear conflict and the struggles of the oppressed. The album's passionate plea for a nuclear-free world and its call for global harmony encapsulate Tosh's legacy as a fearless advocate for peace and a visionary artist whose message remains relevant.

And pure full album of Jungle BIG TIME !!! Enjoy the pure pearl it is ! BOOM !

Bakermat’s upcoming album, Grace Note, is a heartfelt tribute to the powerful connection between House music and Gospel. Celebrating the joy and spiritual essence of these genres, the album invites listeners to rediscover the magic of the dancefloor, where Bakermat's music has fostered moments of joy and connection for over a decade.

Balancing mystic pop, psychedelic ambiance, and pulsating electronica, her debut LP weaves a divine, harmonic universe



Ghent-based singer-songwriter and composer Nele De Gussem (Uma Chine) has today announced her debut solo album The Loom Of Longing, out February 7 2025 on Viernulvier Records.



De Gussem has delivered a sensational album of mystic pop, psychedelic ambiance and pulsating electronica. To shape her divine harmonic universe, she has a preoccupation with soundscaping that involves using her sensual voice and electronic/analog instruments as a sort of palette of rich textures where she’s the auteur, as opposed to the cog in a bigger machine as she’s been with her band, Uma Chine.



“This album celebrates having found desire as a compass in my life and as a medicine to quell fear, holding back and keeping silent.”

— NELE DE GUSSEM



The cracking first single from the album - ‘Wonder’ comes with an eye-popping music video by Belgian visual artist Victor Verhelst (STROOM). Verhelst crafts a unique collage of 90s computer game-inspired motion graphics, which has an otherworldly appeal and highly symbiotic relationship with the music. Rarely do the marriage of visual and musical arts come together so invitingly.



Of the single’s feel, Nele De Gussem says: “‘Wonder’ is about the paradoxical situation of being at a party and finding stillness within. Introspection amid exuberance; tranquillity amid joy. It’s like being swept away by a rush of light - feeling our head in the clouds - but feeling equal magic in the corporeal self.”

Brand new album by BLC MIRROR CLB in glorious transparent LP.
The band brings you 10 indie rock songs focusing on love in all its forms: deception, happiness, sadness, conclusion or redemption.
But don't misunderstand it, these are not cheesy love songs. They are factual situations where everybody can wander and find echo of life.

Domenic Cappello joins Craigie Knowes with his ‘Sceptical Soul’ EP – a trip into the sounds he has mastered through decades spent behind the decks in the world’s best nightclubs. Take an auditory journey into the mist and red light of Glasgow’s legendary Sub Club and a lifelong love affair with the sounds pioneered out of Detroit.

2025 Repress

Taylor Freels aka Liquid Earth, brings his uniquely transatlantic techy-wiggles to Secretsundaze’s new imprint for 9FINITY002.

Following the globally supported 9FINITY001, Freels dishes up a naughty cocktail of signature sounds on ‘Adventures Of Handy Boy EP’. Driving house cuts laced with wandering acid lines, through to percussive, techy grooves and quirky vocal snippets – synonymous with the sounds we all know and love as Liquid Earth.

Another sure fire heater from the newly minted 9FINITY camp.

Seattle's Chastity Belt and Austin's Holy Wave split a dreamy 7-inch for Suicide Squeeze Records. Chastity Belt's offering, "That Guy," rings with the band's signature laid-back-yet-precise style. Jangly, intricate guitarwork plays off easy rhythms; an upbeat tranquility buoys wistful riffs. The lyrics are honest and introspective as Julia Shapiro admits to being "that kind of guy"_the type who just wants to feel alive, despite the pull of screentime, and the tendency to hold onto something until the life has been sucked out of it. "Maybe quitting is okay, but I don't like giving things away," she sings, backed by warm vocal harmonies. "I'd rather hold on for too long, until all the feeling's gone." For their side, Holy Wave contribute the lush and hypnotic slow burner "Time Crisis Too." Smears of warped synth over meticulous percussion and guitar form a dense tapestry of sound; melodic vibraphone perfects the cinematic nostalgia while the lyrics lament the too-hurried passage of time. Microdoses of experimentation tucked into the layers_seaside waves, swells of distortion, a disembodied second vocal_add intrigue and enhance the vibe.

Latest recordings by Cluster Lizard – an interdisciplinary mixed media project by two Ukrainian artists Dmytro Fedorenko and Kateryna Zavoloka, based in Berlin.

In previous centuries, Ukrainian warriors invented an audacious macabre ritual called Herts, a courageous death dance. Before the battle, a few ruthless Cossacks would leave their ranks to perform a mocking dance right in front of their enemy lines, laughing and shouting insulting indecencies at them. Herts, a mixture of laughter and death, was a psychic attack to crumble and degrade the enemy soldiers' morale.

Rats on Rafts descend further into the brooding wasteland on their new album ‘Deep Below’, a darker, slower, eroded sound from the Rotterdam band. Highlighting different shades within the monochrome landscape compared to their previous, more colourful albums: they dive deeper into their psyche, questioning our relationships with nature, religion and each other. Echoes of The Cure, Cocteau Twins and Slowdive seem present yet so many different influences make up an album that only they could create. It sees Rats on Rafts coming of age whilst raising their heads from the underground. Forever drifting into new territory, ‘Deep Below’ is certainly their darkest and most cohesive work to date. True to their analogue recording process, the tape machines, reverbs, echoes and vital new ingredients: the Soundcraft 1s mixing desk (Used by Lee Perry) and the eerie sounding Eminent String Ensemble synth all amplify the authentic sounds of the 1980’s without sounding like a relic. ‘Japanese Medicine’ is a haunting minor chord piece driven by debris of icy chiming guitars, galloping drums and waves of lush synths. lyrically it gathers memories of teenage friendship, littered with cigarettes, life-changing records, punctuated with the dark thoughts and the demons they summon up. Though the band have kept the songs relatively slow-paced and sparse, deeper ruminations of mortality and alienation creep through the cracks. ‘Nature Breaks’, the most propulsive song on the record, thematically locks into this notion, as Fagan meditates on human impulse in the face of abject survival, and how those situations often unlock one's true self. You may conclude Rotterdam’s Rats on Rafts relationship with the past is complicated. ‘The Moon Is Big’ (2011) ‘Tape Hiss’ (2015) and ‘Excerpts From Chapter 3’ (2021) are truly gripping analog timestamps of a band refusing to give in to the supposed ‘progress of the world’ instead forging their own way each time. ‘Deep Below’ is Rats on Rafts’ most minimalist work since their 2011 debut. Where the latter album was fuelled by a brash bravado, these recordings meditate on sentiments of doubt, loss, and ageing. “One of the great contemporary European rock bands” Louder Than War

The Durutti Column, Linda Perhacs, Penguin Cafe Orchestra, Judee Sill. Hello and welcome to Decide Which Way The Eyes Are Looking, the new record by Lina Tullgren. It is a deeply gorgeous intervention, a carefully ornamented dilemma, the most inviting crisis. Made with a host of Los Angeles musicians, Decide exposes Tullgren's daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium's sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It's a tone that signals weariness, but a weariness hand-in-hand with tenacity. There's a clarity, a kind of immovability. Lina Tullgren's first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren's reputation as a composer of "wide-eyed wonder paired with a resonant despair." 2019's Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song. Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking. For Tullgren, Decide is a culmination of all the work they've done throughout their life: the melodic, the dense, the confessional, the unknowable. It's also a tribute to collaboration. Describing the sessions as having "a lot of space and a lot of ease,"" Tullgren invited musicians from a vast field of songmaking to play on the recording: Leng Bian, Zach Burba, Luke Csehak, Corey Fogel, Jenny Hirons, Tara Milch, Tim Ramsey, Michael Sachs, Jude Tedaldi, Marta Tiesenga and Ben Varian. Jonny Kosmo's backhouse was offered as a cozy, easygoing space for the players to create their parts together, and the record was completed by Tullgren and Luke Csehak together at their Los Angeles home. In Tullgren's words: "I feel really strongly that this album is a portrait of the community I found in Los Angeles." Decide Which Way The Eyes Are Looking is a quiet masterpiece: a generous, memorable journey. It is the result of five years of labor, the product of abandoning the pop song entirely and starting over. Whatever wanderings or doubt fueled it, Decide is also entirely at ease: a record on which Tullgren sings "and I know/what to do now" and "I know exactly what to do" in subsequent songs, clear in the revelations this path has given the

Enter Now Brightness feels different for Nadia. It is an album, she says, of departure and questioning, that has reminded her how songwriting can be “the most useful thing to do with pain and joy and thoughts and feelings and anger.” That through music we can find great change. “I’m so much better off now that it exists,” she says. “Now feels like a new time.” On this record, Reid moves ever further from her earlier folk inclinations, establishing a sound that is distinctly her own. Enter Now Brightness is a record of poise and great beauty, the sound of a cellular shift, of pain giving way to tenderness and joy. It takes its title from a passage in a book Reid was reading from a line that seemed to call out to her from the page: ‘Brightness entered the study.’ “It was the image of opening the curtain, or turning the light on, or of standing in the wings of a theatre and waiting to go on stage. It’s the idea of life beginning now.” "Nadia embraces a full-bodied sound halfway between Haim’s sophisticated pop sparkle and Sharon Van Etten’s full-throated songcraft" - The Guardian

Repress!

A swelling, string-drenched slice of soulful disco, Kyoto Jazz Massive co-founder Shuya Okino’s 2011 release ‘Still In Love’ remains a hugely in-demand cut for discerning selectors, thanks to its life-affirming vocal provided by Navasha Daya and lush instrumentation. Now Glitterbox Recordings deliver a specially curated 12” package of this record box essential, as this enduring modern-day classic is given a number of re-works from dance’s A-List. This package features mixes from true DJ’s DJ The Reflex, Berlin duo Kyodai, and house legend DJ Spen, which are joined by the blissful original, illustrating the versatility of a truly special record.

The Parisian Label Gathers Five Producers Around a Minimalist Techno Canva. ...

(Standard black vinyl version) With their anticipated new album, Black Flower delves into the transformative power of rhythm and motion.



Each groove, rhythm and pulse channels raw energy, acting as a disruptor that drives transformation. When the mind feels stuck-cemented in patterns, rigid in its views, overwhelmed by obstacles-Kinetic serves as a reminder that the body's motion can be the force to shatter those confines. To move is to adapt, evolve, and transform.



The album embodies a philosophy of flowing with change rather than resisting it, offering a bold, dynamic statement on breaking free from life's limitations. Kinetic is a call to dance through life's chaos and to harness the power of movement as a tool for liberation.


The album showcases Black Flower's signature blend of Ethio-jazz, oriental influences, dub, and afrobeat. The jazz combo, hailed by tastemakers such as Gilles Peterson, The Gaslamp Killer, and Lefto Early Bird, has performed live sessions on BBC Radio 3 and Worldwide FM. Their previous albums earned widespread acclaim, with glowing reviews from prestigious publications such as MOJO, Stereogum, Q Magazine, and Uncut Magazine. The band has toured extensively across Europe, building a strong fanbase.



File under: contemporary Jazz / ethio jazz

Burning Hell was recorded in Detroit, MI in 1959, but not released until 1964. Even then, it was only available in the UK. This 180-gram vinyl pressing marks the first official worldwide single LP release of the album. The album was pressed at QRP in collaboration with Acoustic Sounds and features Hooker solo playing originals and classics. AllMusic writes that on this album Hooker proves himself to be an excellent performer who could have rivaled the Delta bluesmen of any era.

At the age of 14, Ayako Hosokawa was already performing in the American military clubs in Japan, picking up the English language by singing international pop songs of that time. Now, she represents feeling and soul within her songs, no matter whether she sings in English or Japanese. After her marriage, she moved to the United States and was discovered and sponsored by Earl "Fatha" Hines. She found enthusiastic fans touring San Francisco, Las Vegas, Montreal and lots of places in California, performing in the clubs, local radio stations or on TV. In the '80s, she started a roving life between the United States and Japan. Due to her recordings for TBM and performances for radio stations and on TV, she became one of the best-known pop and jazz singers throughout her country.

Backed by a terrific band, Ayako tackles some of the most memorable jazz standards of all time on the 1977 release To Mr. Wonderful. Couple this with spectacular sonics for a memorable and beautiful album.

Recorded in its entirety using just a laptop, a pair of headphones and a midi sampler, Indentations is the debut full length album from New York based percussionist and producer Grant Chapman.

Indentations draws deeply on Chapman's personal experiences surrounding loss and betrayal. An intimate work reflecting the struggle of dealing with traumatic experiences, the album makes the case for equilibrium following life-altering experiences.

‘’The album is a meditation on the sheer weight a broken relationship can have on two people. A personification of the stages of grief one feels when growing apart from someone they love, for reasons they can’t seem to reckon with or comprehend.’’

Working from his East Village apartment, Indentations is a rich amalgam of intricately layered found sounds, almost all of which were found on YouTube, taking in influences that range from ASMR to acapella choral performance.

The effect is dizzying in its depth and scope. Chapman has created a boundless emotional musical journey that can feel both deeply intimate and cosmically vast.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Repress!

Glitterbox resident Dimitri From Paris and remixing pioneer Tom Moulton present their retouched mixes of Ron Hall & The Muthafunkaz modern day soul classic 'The Way You Love Me' now available on 12' vinyl. Initially released in 2006, Marc Evans provides velvet-smooth vocals complimented by background harmonies and timeless disco production. For his iconic T.S.O.P. remix Dimitri From Paris enlisted the help of Salsoul Orchestra founder Vincent Montana, Jr. for fresh strings as well as a new full orchestra arrangement in his version, and here he gives it an update with his previously unreleased 'Dim's T.S.O.P. Version - Dimitri from Paris Glitterbox Retouch'. Tom Moulton's retouched sweet-sounding 'Philly Re-Grooved Remix', previously released on Harmless in 2013, comes laden with guitar riffs, dreamy harps and xylophone for even more instrumental glory. Two disco legends come together under one stunningly soulful Glitterbox release leasing new life into this timeless record.

Instrumentals JID019 captures the musical alchemy produced at the Linear Labs Studio by producers Adrian Younge and Ali Shaheed Muhammad. These instrumental recordings encapsulate the spirit of the Jazz Is Dead concert and recording series, celebrating the African-American art form known as jazz through improvisation, musical collaboration and authentic cross-generational and cross-cultural communication.

Frank Sinatra was one of the greatest performers and first musical superstar of the last century. His voice, timing and performance created the standards for vocalists ever since. Even today’s performers like Michael Bubble, Jamie Cullum and Robbie Williams are highly inspired by “Ol’ Blue Eyes.”

On Frank Sinatra Collected, his career and musical legacy is celebrated on 2 LPs, spanning over 5 decades. In association with Frank Sinatra Enterprises, the 31 recordings on Collected include not just his most famous songs, but also delves into some of his best album tracks and collaborations with Count Basie, Quincy Jones and his daughter Nancy, all showcasing the versatile artist he was.

Frank Sinatra Collected is available as a 2LP, housed in a deluxe gatefold sleeve with liner notes inside. 10.000 numbered copies are pressed on “Sinatra Ol’ Blue Eyes” translucent blue coloured vinyl.

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

Welcome into the world of scarse music for the ultimate connoisseurs, fine taste beatmakers and holy grails collectors.
You made a step close to The Edge.
From cult Italian soundtrack and 80's iconic anime, English and French library music, to tunes that made Hip Hop iconic anthem, Medline picked 10 compositions to cover, among his favorite crate diggers treasures.

With a 30 years Dj's culture, he unite on vinyl a collection of underground classics.
When other musicians sample, as former beatmaker, he found his fulfillment by playing the entire tracks, as homage to these composers.

In 2018 Solstice has set the corner stone of this unique artwork at the cross road of Jazz, Funk, Soul and Hip Hop worldwide culture.
With The Edge, the out of boundaries producer, placed the level even more higher.
The whole work is incredible, for a man alone, without music theory knowledge but playing flutes, horns, keyboard, guitar and many more instruments... creating in his little home studio the sound of a 70's orchestra.

Challenging and epic:
Epic for covers like A Day In The Life, Beatles cover by Les Demerle, took by Buck Wild for O.C. Time's Up and of course the eponym David Axelrod's The Edge on David McCallum album.

Challenging, for library anthem like Hot Dog, Ghetto or Keep Quiet by Jacky Giordano, sharp and definitely audacious.
Despite the variety of the ten themes, the man's touch is present each time, into the texture, sound taste and balance. Like a chef bringing up to date magical recipes.

The archetypal type of records My Bags loves to release, "The Edge" is built as a crate digger paradise, a timeless record linking past and present into a highly concentrate of divine grooves.

Limited Edition White Vinyl

At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor’s latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope.

Following the success of his self-released debut Fio de Lâmina—an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez—Higor’s new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. As Higor explains, “This album is a test of resistance and a big event in my life as a young Black man from the Northeast and coming from a humble background, financially speaking, its context is political.”

Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil’s vibrant contemporary music scene—including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol—assembling a rich musical landscape and a cutting edge development on the musical world from which he emerges.

For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance.

Building upon the instrumental sound of his debut, “Louro Cantador” with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass—his main instrument.

Through ten carefully crafted tracks, Higor’s acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. “Above all, I value making music that brings me genuine satisfaction. I’m always looking for depth in the things I create.”

This album is a testament to the timeless themes that define Higor’s artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, “This work is liberating, contemplative and victorious!” Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep us coming back for more.

CREDITS

Ciranda (Nyron Higor)
Tico Lima: Trombone, Nyron Higor: Drums, Bass, Synthesizers, Electric Piano, Guitar, Molho de Jatobá, Ganzá, Caxixi, and Indigenous Whistle

Louro Cantador (Nyron Higor)
Nyron Higor: Drums, Bass, Keyboards, Guitar, Percussion, and Direct Sound

Demo Love (Nyron Higor)
Nyron Higor: Drums, Bass Synth, Keyboards, and Synthesizers

São Só Palavras feat. Alici, Bruno Berle (Nyron Higor, Batata Boy, Alici Sol, and Bruno Berle)
Alici Sol: Vocals, Bruno Berle: Vocals and Bass, Nyron Higor: Drums, Guitar, Keyboards, Synthesizers, and Whistles

Estou Pensando Em Você feat. Johanna (João Menezes, Rubens Adati)
Nyron Higor: Vocals, Johanna: Vocals. Bruno Berle: Vocals, Rubens Adati: Piano, Guitar, Programming, Stefan Costilhes: Bass, Batata Boy: Programming

Maravilhamento feat. Nathalia Grilo (Nyron Higor, Nathalia Grilo)
Nathalia Grilo: Vocals, Nyron Higor: Drums, Bass, Guitar, Keyboards, and Synthesizers

Som 24 (Nyron Higor)
Nyron Higor: Sampler, Keyboard, Bass Synth, Vocoder, and Steel Guitar

Pizzicato (Nyron Higor)
Nyron Higor: Double Bass and Keyboards

Eu Te Amo (João Menezes)
Nyron Higor: Vocals and Bass, João Menezes: Guitar, Batata Boy: Rhodes Piano, Bruno Berle: Xylophone

Me Vestir De Você feat. Johanna (Paulo Novaes and João Menezes)
Nyron Higor: Vocals, Johanna: Vocals, Bianca Godoi: Drums, Bruno Berle: Bass, Guitar, Percussion, and Rhodes Piano, Batata Boy: Rhodes Piano and Guitar

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Tracks 1, 2, 3, 4, 6, 7, and 8 were recorded by Nyron Higor in Maceió

Track 4: Bass and Synthesizers recorded by Ico dos Anjos. Vocals recorded by Batata Boy at Estúdio Rural

Track 5: Guitars, Bass, Programming, and Pianos recorded at Inhame Estúdio. Coproduced by Rubens Adati

Tracks 9 and 10 Recorded and Co produced by Ico dos Anjos

Mixed by Batata Boy, Ico dos Anjos, Bruno Berle, and Nyron Higor

Mastered by Batata Boy

Produced by Batata Boy, Bruno Berle, and Nyron Higor

Lacquer Cut by Caspar Sutton Jones @ Gearbox Records

Cover photo by Claudio Virginio

Vinyl centre label artwork by Tadáskía

Sleeve design by Alessandro Renaldin

Forever was a record that was written and recorded one track at a time with my husband Coley. After scrapping about 20 songs or so I had written the last few years, I wanted to get to the heart of things. I had a great talk with a friend on the phone and she mentioned she just wasn’t sure where I’d been. I realized I wasn’t really certain of that either. It’d been a foggy few years after 2020, and the pieces seemed to just be starting to be picked up. I had fallen in love, gotten married, had a dog, a house…things I had always dreamed of. But it took my quite some time to accept them as my life. For a bit, I felt like an outsider watching myself stumble though everything, and was constantly critiquing myself, to the point where I could hardly leave the house for a bit. But then I realized my life was passing me by, and the love I was living in required presence to accept. I started to do the little things you have to do to just show up for people: listen, grow, change, write….get outside of my own problems. Time is flying, and I want to be here for it all rather than lost in my thoughts all the time. My love is forever. When I was a kid I used to say to my mom and dad “I love you forever and always” then neurotically changed it to “I love you forever and always and it’s true and I mean it”…because I wanted to make sure they knew how much I wasn’t messing around! I still feel that way when I say “I love you” to anyone and hope it comes across on this record. Love y’all forever!

Delinquent Habits’ 1998 album Here Come The Horns is a standout in the world of Latin-infused hip-hop, blending bilingual lyrics, smooth beats, and a vibrant mariachi-inspired sound. The album builds on the group’s unique style, featuring bold horn sections, infectious rhythms, and their signature West Coast vibe. Tracks like “This Is L.A.” and the title track “Here Come The Horns” highlight the trio’s lyrical prowess and creative fusion of traditional Latin sounds with modern hip-hop elements. The album showcases their ability to deliver socially conscious messages with a party-ready energy, making it both thought-provoking and entertaining. Here Come The Horns cemented Delinquent Habits’ reputation as trailblazers in the genre, earning them acclaim for their innovative approach. For fans of Latin hip-hop, this album is a must-listen, offering a timeless blend of cultural pride and musical innovation.
Here Come The Horns is available as a limited edition of 1500 individually numbered copies on red coloured vinyl.

2025 marks the vinyl release of Changes 2, the pioneering album by legendary vocalist, keys player and composer Mike Lindup.

A remarkably engaging body of work with wide ranging elements, Changes 2 plots a course through upfront soul, deep funk, jazz riffs and disco vibes, tied together with the melodic magic and engaging vocals for which Mike Lindup is widely known.

As an internationally renowned musician with decades of achievements and accolades, Mike Lindup's outstanding career has taken him on a unique journey. With the band Level 42, he consolidated a place in music history with some of the greatest hits of the era, gaining a dedicated fanbase that see the band still touring to this day. As a soloist, the first Changes album and a notable release on Naim records, as well as his work with UK/Brazilian outfit Da Lata, have all allowed further development of a burgeoning creativity, now ultimately culminating in Changes 2 - an enthralling representation of where Mike Lindup is today.

Changes 2 features various excellent guest artists that demonstrate the diverse nature of the album, including the stellar vocals of Omar and Tony Momrelle, bass magic from Yolanda Charles and even an appearance from the comedian and impressionist Jon Culshaw! The album has also inspired two funk- fuelled dance remixes from Dave Lee and the inimitable Louis Vega. All of these talented individuals enhance the project greatly, making valuable contributions to Mike Lindup's distinguished work.

Speaking about the album, Mike Lindup says: "Changes - so many since I began recording this album, and as the saying goes, the one thing you can be sure of in this life. During the four years of making this album I've been reflecting on the world as I see it, the actors and actions on this grand stage of life, love, death, prejudice, politics, separation, longing, hopes and dreams. Musically, many of the seeds of these songs took hold a while ago and wouldn't let go, but to be fulfilled they needed input and inspiration from my producers Toni and Mike, and the talents of the singers and musicians that are featured within. My wish is that some of these themes will resonate with you."

With Gilles Peterson, undoubtedly one of the UK's most influential DJ's and tastemakers describing Mike Lindup as "one of his all-time favourite vocalists" and high praise from many other leading music broadcasters and writers, Changes 2 destined to be enjoyed by a multitude of discerning music and vinyl lovers the world over.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, Double LP, Gatefold, alternative Cover. Comes with three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Aqua Blue Vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.