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Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

tapetopia 006 In 1983, some more subdued sounds began to waft from the GDR punk underground into the second half of the ’80s. At five to the end of time, it was perpetually striking midnight and the occasional punk band would mix a little laudanum into their potential for aggression. Portents in this vein preceded a dark wave whose foamy crest would break on fog walls of dry ice. Especially in Leipzig and East Berlin, a chain-rattling zeitgeist produced bands that drew from a dark well. Many of these bands arose from the still hot or already cold ashes of punk. The two founding fathers of Neuntage Alt, René Glofke and Taymur Streng (nicknamed “Strangler”), knew each other from the East Berlin punk scene. The third man aboard, Mike Sauer, played drums in the early 1980s for Sendeschluß, a punk band that, lost in thought somewhere in the no-man’s land between punk and post-punk, faded away in 1984. Punk was no longer the order of the day, but it was a form of expression among many and easy to combine. Glofke and Streng found common ground in experimental set-ups with such otherworldly names as Medusa Brahma or Die zeitweilige Erscheinung.
From this far-flung point of departure, a short tunnel led straight into the black light of Neuntage Alt, the coldest star in the low-hanging sky above East Berlin. Neuntage Alt appeared at the end of 1986, during the last blackout phase of the GDR, on the threshold between the underground and the so-called “other bands” – a scene that used the non-socio-critical approach of German Wutwave (“anger wave”) in order to be allowed to perform publicly. In the context of this scene, Neuntage Alt did not belong to the inner circle. Moreover, the band’s subcultural base was initially in Mahlsdorf, on the south-eastern edge of East Berlin. This was where the DIY sound studio of amplitude apostle and great modulator Taymur Streng was situated. Strangler held the position of house electrician and keyboard god in various projects. One of them had the bland alias Mahlsdorfer Wohnstuben Orchester, behind which the avant-garde court chapel of the bungalow studio was concealed. There Taymur also conspired with the East Berlin underground band Ornament & Verbrechen (tapetopia #001). Ronald Lippok of Ornament & Verbrechen remembers how once, at the opening of a joint session, he and his brother Robert attended Taymur’s engaging slide show of his collection of test patterns. Afterwards, they created a piece with the psychedelic title “Das sentimentale UfO”, which sheds an iridescent light on the bizarre atmosphere in the studio. Taymur’s obsession with technology was legendary. The home studio was also his living space; a circuit, a machine park of screwed and soldered equipment, a single keyboard orgy. His own creations were also based on circuit diagrams found in the radio amateur magazine “Funkamateur”. Its somewhat clueless subtitle “Praktische Elektronik Für Alle” (Practical Electronics for All)

10" in top-on sleeve, limted to 300 copies. Yiri Yiri! BOOM! A year and a half after their debut for Sdban Ultra, Brussels-based afrogroove formation M.CHUZI returns with a stunner of an EP.Yiri BOOM! offers a variety summery sauces to assaison this spring with a refreshing sound, catchy songs and some catchy features.



Captivated by a musical residency in Benin, this time the band relocates to the Black Atlantic, with the agogo bell as their guide. Literally, because in "Mojo Picon", drum legend Stéphane Galland actually performs a solo on cowbell. A world's first. Together with singer Vanesa Diaz Gil, M.CHUZI travels from the Canarias to Cuba with an innovative cover of the Cuban mambo classic "Yiri Yiri Boum". Following in the footsteps of this iconic song, the Brussels gents finally cross back across the ocean in the danceable "Pepper Sauce", in which the heyday of Fela Kuti's afrobeat resonates with an irresistible guitar riff, a rippling bass, a rousing shuffle groove and punchy horns.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

A two-track 12" with fresh artwork and a nice heavyweight pressing, with one side taken by each artist. Sy Sez kicks off 'Change Da System' with dub-wise vocals which then make way for a tight, taught, bouncing house groove with fat bass. Things are utterly different on the flip with Leeds legend and sometime Nightmares on Wax collaborator offering the deep house delights of 'Knights' with its soulful vocal whispers, intimate late night chords and warm, candle-lit vibes.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

Repress!

The debut album from soulful electronic pioneers Little Dragon originally released in 2007 was initially a record
slept on as no one in their right mind would have expected the future of soul music to come from Gothenburg,
Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. With
hindsight it is easy to see why some of the world’s top musical luminaries went onto fall over themselves to work
with them.
Includes the must own classics “Twice”; a master class in low key pop, with a sparse piano line offset by classy
strings and woozy synth wobbles; it is restrained, but never detached (over 100 million streams across multiple
DSPs) and “Constant Surprises” where Yukimi’s delicious vocal skips and glides atop hi-hats and bubbling bass
laying down the bands distinct soulful credentials (30 million streams).

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

Acclaimed Americana duo Larry Campbell & Teresa Williams have been called "the first couple of Americana" by MOJO Magazine, while American Songwriter declared: "They have created a sound that is spirited, stirring and timeless"

Initially Larry and Teresa made their marks separately: Larry as indispensable multi- instrumentalist with Bob Dylan, kd lang, Sheryl Crow, Keith Richards and Emmylou Harris among others, and Teresa as a stage actor in productions like Keep On the Sunny Side where she portrayed Sara Carter and Always...Patsy Cline where she starred as none other than Patsy herself.Their performing partnership, however, was born when recording and touring with Levon Helm, iconic drummer and voice of The Band.

"All This Time" by Larry Campbell & Teresa Williams includes the following tracks: "Ride With Me", "I Think About You", "A Little Better", "We Done Earned It" and more.

Bartees Strange has been one of the most significant indie artists to break out in the post-Pandemic era. He debuted with ‘Say Goodbye to Pretty Boy’, an album length collection of The National songs released in March 2020, on the cusp of the Pandemic. Later that year came his first LP, ‘Mustang’, which was named in endless year-end Best Of lists, including those from Pitchfork, Stereogum, Rolling Stone and NPR Music. He quickly signed to 4AD, and his debut for the label, ‘Farm To Table’, turned him into a club headliner and an arena-sized opening act with genre-defining artists such as The National, boygenius, Phoebe Bridgers and Courtney Barnett. The vinyl-exclusive release, ‘Magic Boy’, represents the Bartees story before this story began -33 1/2 minutes of recordings created before he entered the public eye, with eight out of ten never previously released. It finds his ever-malleable sound touching on genres like coffee house folk (‘IDK’, ‘Best Of You’, ‘You’re Here’), emo troubadour (‘Count It Back’, ‘Little Brother’), and wigged-out experimentation (‘Eat Your Heart Out’). Appended with two tracks previously available only as digital Bsides from ‘Say Goodbye’ (‘HAGS’, ‘Going Going’), ‘Magic Boy’ reads as a kind of ‘lost’ album for someone shaping up to be a major voice in indie music.

12" official vinyl reissue of Ronnie Dyson' 1983 disco-boogie classic!

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”.

“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.




d Arrangements, as in Making Them [VIDEO]

Ondrej Zajac doesn't practice. Neither does he play his guitar with as little as a hint of striking technical prowess. Despite this, he makes music with the confidence of a master instrumentalist who doesn't let their chops get in the way. This is because Ondrej Zajac understands that the point of playing an instrument is to transcend it.

Such principles have been the source of pride for the idioms of experimental and free music, but these suffer from the chronic peddling of artistic narcissism. Ondrej Zajac works in the confines of these genres, but impressively avoids all their pitfalls. His music is almost pure content, as straight as a line, and so immediate and so fucking honest it leaves you wondering.

I Will Be Forgotten offers plenty of opportunities for such wondering, regardless of whether the composition is sixteen minutes or sixty seconds long. The structure of the whole thing, the appreciation of all properties of sound without indulgence in any of them, the playfulness and composure beyond it all, not even the beautiful sonic grain of the guitar itself, none of this does dwarf the most remarkable accomplishment of this record // its utter artistic integrity.

Recorded live at Divadlo 29 in Pardubice and co-produced and mixed by Václav Šafka, I Will Be Forgotten is the second solo release by Ondrej Zajac (Banausoi, Data Koroptev) and the 19th release by the sincere label Weltschmerzen.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

Original soundtrack of the acclaimed anime, printed on red vinyl.

Thus begins the story of the man who would become the greatest thief of all time...While Tokyo is experiencing tremendous economic growth, a young schoolboy leads a boring life. One day, he catches a guy pointing a gun at a delinquent. When he meets up with this person again a little later, something happens that leads them to team up...

Monika Enterprise welcomes a new act to her roster with Berlin based experimental pop duo Post Neo releasing their new EP. Individually known as Nicole Luján and Pauline Weh, both musicians pursued their own solo projects before forming the duo Post Neo. On “Alles Immer Wieder” they combine as more than the sum of their parts to produce 5 songs of dark and powerful experimental avant- pop which is released as an exclusive 10” vinyl.

Pauline and Nicole met making music in Berlin during the summer of 2019 and kept collaborating online, until Nicole moved to Berlin in 2022. The musicians' different musical backgrounds result in diverse intuitions which complement each other perfectly when producing tracks together - Nicole was more into synthesis and electronic music production in Mexico City while Pauline received a classical piano education in Munich before she started doing electronic music.

In 2022 they released their first EP, «do you?», which consists of five tracks that were composed and produced as an inter-continental project between Berlin and Mexico City. In autumn of that year Post Neo received a residency at Sternhagen Gut from Musicboard Berlin where they caught the ear of monika head Gudrun Gut who was so taken with their compelling mix of techno beats and dreamy melancholic atmospheres she immediately signed them to her label.

The EP’s opening and title track “Alles Immer Wieder” (trans. Everything again and again) is a reflection on repetition and monotony as transcendence in the form of sleep, dreams, work and other daily cycles. The rhythmic juxtapositions and tempo shifts make for a captivating opening track. “Ganz Schön Was Los” (trans. A lot happening) has a proper synthwave electro pop vibe while the vocals lend a little light hearted humanity to the otherwise calculated computer music aesthetic. With its fusion of synthesizers and drum machines track B1 “Die Verwirrung” (trans. The confusion) brings a sense of melancholic doom. The flow of B2 “Wenn Wir Wüssten” (trans. If we knew what would happen) is a future-focused reflection on the unidirectional movement of time's arrow. Sampled harmonies and instrumental breakdowns make it possibly the most emotive track on the EP. And the record comes to a close with “Dreh dich” (trans. Turn around) which lures us in with delicate vocals before menacing synthesizer sounds blast us into oblivion. It is an invitation to turn the record over and start listening from the beginning again.

Post Neo’s music is steeped in minimalism: at once managing to be hugely expressive and evocative while still retaining a sense of privacy and mystery for the listener to decrypt. Like all great pop music their songs are musically captivating while also conveying a strong message. As their band name suggests, Post Neo are essentially futuristic and with live shows at some of Berlin’s hottest underground venues under their belt as well as in their hometowns of Munich and Mexico City, plus the release of „Alles Immer Wieder“ in 2024, great things are in store for the electronic pop duo.

Transparent Yellow w/ Black Splatter Vinyl. Since founding Swedish synthpop duo KITE in 2008, singer Nicklas Stenemo and keyboardist Christian Hutchinson Berg's brooding fusion of cinematic electronics and anthemic pop has steadily elevated into a spectacle of passion, atmosphere, and communion. Their debut double-A vinyl single for Dais Records, Don't take the light away / Remember me captures KITE at their most urgent, thrilling and apocalyptic."Don't take the light away" is a song about "the war between energies," with singer Stenemo's wounded croon leading a rising tide of stabbing strings, pulsing percussion, and looming bass orchestrated by keyboardist Hutchinson Berg, surging to a mass-chanted chorus both desperate and triumphant ("dance, let them dance into me / people versus people can't see / hands should be holding hands"). "Remember me" was written following the band's 2017 US tour, capturing the intense feelings of burnout and exhaustion. "Remember me, Won't you remember me, Promise you'll remember me."Words only tell half of the story; smoke spills across the stage, and the melodies become a battle cry. Our worst fears eventually boil over, turning into hope and resilience. Like the best of KITE's music, "Don't take the light away" and "Remember me" fuse theater and catharsis into anthems of universal yearning, born of "the struggle to keep a flickering candle lit in a very dark space."

The legendary Norwegian rockers Backstreet Girls, was founded in 1984 (!) and have delivered hard rocking, no-compromise boogie rock inspired by AC/DC, Ramones, Rose Tattoo, Hanoi Rocks and Status Quo to their faithful fans ever since. "Let's Have It" is the band's fifth studio album, originally released on Warner Music in 1992, and was the first and only studio album featuring the swedish singer Olle Hillborg. Now available on vinyl for the first time.

The Stanford Family Band release their debut EP "For Your Listening Pleasure" via Goo Records on 5th April 2024. Fronted by the captivating lead vocals of Elliot Stanford, the EP's six songs captures a vintage pop aura whilst retaining a fresh indie and garage rock edge.

Offering a sound which journeys through bittersweet memories, nostalgia, and the warmth of sunlit days, The Stanford Family Band have started to make a name for their unique sonic approach - drawing inspiration from iconic acts such as The Beach Boys and The Modern Lovers, built around complex four-part harmonies and irresistibly memorable melodic hooks.

Speaking about the EP, Elliot Stanford (lead vocals, piano, guitar and songwriter) said: "When we were first signing with Goo, we really had no idea what we would release or how it would end up looking. We have a lot of songs, old and new, some of which have been floating around for many years. In the end we just really wanted to put out a body of work that really encapsulates everything we are about! We love big dramatic songs and arrangements, but at the same time, a little cheeky country/garage rock beat has always tickled us so we just really wanted to capture everything that we love in one concise record. It’s been an absolute pleasure to work on this with our friend Harry Hayes (Producer) and we are mega proud of how it all came together!"

Having already garnered tastemaker press coverage (Earmilk, Fame Magazine among others), a whole host of radio play (John Kennedy - Radio X, RTE 2XM), The Stanford Family Band have quickly started to gain critical acclaim. This EP showcases the outfit’s uncanny ability as songwriters, creating memorable, charming and beautifully constructed melodic tracks.

There’s a party in Dana Gavanski’s head and everyone’s invited- well, kind of. Late Slap, Gavanski’s third album, gives voice to the highs and lows of the mindscape in all its joys and terrors, injecting some much needed playfulness into the process of writing about emotionally hard things. “The album holds together the seemingly disparate aspects of my character that I have sometimes tried to repress,” says Dana. “With this album I’m letting them into the room, celebrating them for all their strangeness a strangeness which I think we all, on some level, share.”

Having (literally) lost her voice during the writing of her previous album, When It Comes, Late Slap finds Dana in magisterial mode, displaying a newfound confidence and energy—in both her writing and singing—borne, paradoxically, from embracing feelings of discomfort. “I realized,” says Dana, “that in order to become stronger I needed to get used to being uncomfortable. ”It’s appropriate, then, that the album opens with ‘How to Feel Uncomfortable,” a quick sonic punch of a song, which bemoans the growing distances between people in the digital landscapes where we spend so much time wandering aimlessly: “stand too close, face in your phone

"Jerskin Fendrix should have tea with Jarvis Cocker" - Iggy Pop on BBC 6 Music "Winterreise has proved his brilliance, but it has also only affirmed his status as an enigma" - The Quietus. Originally billed as the "quasi-godfather of the south London Scene" by The Quietus for his influence on bands like Black Country, New Road, Black Midi and Famous, Jerskin Fendrix has recently made the leap onto the global stage for his Oscar, BAFTA, and Golden Globe-nominated film score for Yorgos Lanthimos' latest film 'Poor Things'. Since this stratospheric rise to red carpet fame, the Shropshire-born musician's debut 'Winterreise' has been put into a fresh perspective; at the time of its release it was lauded as something of an enigma, a collection of errant pop songs that gave little away about the artist behind them. Now, the record that was awarded album of the year in 2020 by Loud & Quiet, can be seen as a prototype for Jerskin's strange blend of baroque, pop, electro, punk - an amalgam that takes the record beyond the referential. Having been out of print for a number of years, untitled (recs) has re-pressed it with its original artwork on a limited run of 1000 copies

"Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You "Psychedelic rock from Minneapolis psych madmen Jokers Wild! Includes all of their rare singles, plus 15 more originally unreleased mind-melting cuts - complete with slide whistle!

When looking through the amount of outta-this-world acid-tinged, garage and psychedelic rock that came out of Minneapolis during the 1960s, it wouldn’t be too far-fetched to assume that there was something in the water. Their sound was unlike any other Minneapolis ‘60s band – a true feat during that time.

Though the band began playing more local gigs during the early part of 1967, it wasn’t until May that they recorded their slide-flute-farfisa-organ infused psych wonderment, “All I See Is You / I Just Can’t Explain It.” The single was recorded at the famed Kay Bank Studios (where groups like The Trashmen, Vaqueros, Readymen, Castaways and many, many more laid down tracks) but received very little airplay. Their second single featured “Echo” as the A-side, and it’s equally as fun, bringing a ? and The Mysterians-esque farfisa beat behind a driving, delightfully fuzzy bass and guitar. Like their first single, it didn’t go anywhere. The lack of budget really hurt the band, and with too many bills to pay, they weren’t able to recoup on recording costs. Poof… it ended up sitting on the shelf.

The remnants of their unfinished album can be heard here, along with unreleased material, a cover of the Hollies’ “Have You Ever Loved Somebody,” and three of their limited release singles, “All I See Is You/I Just Can’t Explain It,” “Peace Man/Tomorrow,” and “Because I’m Free/Sunshine.” Catchy yet complex, tune out and turn on to this unsung Twin Cities garage-psych treasure and prepare to Step Outside Your Mind."

There's a new guitar in town....nein besser gesagt altbekannte Recken mit neuer Band, die 2022 beim Rebellion-Festival vom Geheimtipp schnell auf sich aufmerksam machten: We proudly presents: ON THE HUH mit ihrem Debut "Bit on the side" und wer auch nur einen Hauch für den good oldschool UK-Streetsound übrig habt wird diese Band lieben! Aufgenommen in den altehrwürdigen Londoner Perry Vale Studios und produziert von Pat-"Vibrators"-Collier verbergen sich hinter der East-Coast-Slangphrase "On the Huh" (meint: slightly on the piss) Musiker von Infa Riot, Braindance und Special Duties und liefern 15 Brickwall-Oi! / Streetpunk Hymnen mit dezentem Glam-Touch der Extraklasse ab! Klassische Singalongs, eine unglaubliche Spielfreude, rotzige Chorals und traditionelle Punkrock-Einflüsse aus vielen Jahrzehnten "Made in Britain" und dabei extrem abwechslungsreich und halt a little "Bit on the side"!

Limited edition tri-color splatter vinyl. The vinyl edition of Daedelus' new LP "Xenopocene" features a die cut cover title album text which allows the viewer to see the multi color swirling vinyl beneath. Xenopocene means Alien Age. Some have theorized our current is the Anthropocene; however in an era where artificially generated and deep faked, what is terrestrial in origin vs u.f.o.? Daedelus’ latest LP ‘Xenopocene’, inspired by their artist-in-residency with S.E.T.I. follows a timeline from an extraterrestrial first contact thru to 10k days hence and spiraling towards the nearest exoplanet 6,000+ years away. Attempting to parse out science informed fiction from the fact that in an unfathomable universe life exists outside our confines. Actually there are guidelines in place for receiving such a communication. In S.E.T.I.'s Protocols for an ETI Signal Detection (which first line reads "Declaration of Principles Concerning the Conduct of the Search for Extraterrestrial Intelligence...") well measured steps from such an awesome event could almost be read as unexceptional. Hyperbole has little place in the sciences whereas music makes the most from. Daedelus across 11 tracks deftly deals with space inspired sounds pulling equally from Gustav Holst and Sun Ra as Alice Deejay and Amon Tobin. No techno-optimism here, ultimately this is Earth music made to dream upwards. Asking us to reckon with our humanity while daring us to envision a new epoch. Interlaced throughout are quavering violins by Vivek Menon. Featuring words from the singular R.A.P. Ferreira on "Starfire" and extra instrumentation from Eli Henry Goss of the Breathing Effect in "Float

An artist needing little introduction, having crafted a playful yet impactful sound that is entirely his own spanning house to breaks, electro and beyond, Cologne’s Kolter continues to prove exactly why he’s in such high demand as a producer and a DJ.

Following his debut on Up The Stuss back in 2021, his releases since have landed via labels such as Solid Grooves, Shall Not Fade, Pilot, Berg Audio and his own Koltrax imprint, and he picks up right where he left off with a long-awaited return to Chris Stussy’s admired imprint with four cuts that have been in heavy rotation for the label boss for months.

From the hooky vocal samples to the rumbling groove and vibrant bass guitar licks, title track ‘That Was Fresh’ brings the arrival of one of the German’s most requested anthems to date. Add in the helter-skelter electronics and glitchy sonics of ‘This Is It’, the breaks-driven and resonant ‘Feel’, and the hazy yet driving ‘I’m Fine, Thanks!’, and the four tracks showcase Kolter at his best as he makes a triumphant return.

Repress!

He made remixes matter more than the original songs. He introduced dramatic, forceful horns to rap’s sonic discussion. It almost goes without saying that Pete Rock is among the greatest hip-hop producers of all time, and Soul Brother #1 is still crafting timeless music. Now back on vinyl for the first time in years, Pete’s acclaimed album NY’s Finest features an impressive lineup of vocalists, including Wu-Tang emcees Raekwon and Masta Killa, Jim Jones, Little Brother, Styles P, Redman, Max B, Papoose, and more. Entirely produced by Pete Rock, the album is a modern masterpiece from a legendary artist. This repress also includes the bonus track “It’s So G” featuring Roc Marciano, a lost treasure from the NY’s Finest sessions that wasn’t on the original tracklist.

A Jazz Dance Favourite that Jazz Room Records Head Honcho Paul Murphy was hepped to by Brownswood and 6Music Jazz Supremo Gilles Peterson at the 20th Birthday Bash of London's most Underground of Clubs: Shiftless Shuffle.

Murphy: "I'd quite forgotten all about it, but when I saw the reaction on the dancefloor it was "Mental Note Time, get on the case for a full investigation and let's see some Vinyl re-issue action!"

The head of the original Danish Label, Pick Up Records, later reminded Paul that he was selling the originals in his original Jazz Record Shop "Fusion Records" when the original was released and that he, Peter Littauer, had actually delivered them personally on a trip to London. Synergy in action!

The music is a mixture of 100mph Latin Jazz (Girl With Three Faces/747 To Rio/From Dusk Towards Dawn) and Funky Rhodes driven workouts (Travelling/Circles In The Air), plus the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe who guested on two of the tracks.

HoneyLuv impresses on her Crosstown Rebels debut with ‘Right Spot’, accompanied by remixes from house heavyweights Dennis Ferrer and Byron The Aquarius Unveiling her first solo production of 2024, the DJ Mag North America ‘Best Breakthrough Producer’ 2023 winner showcases a deeper side to her growing sound, backed by a pair of unorthodox remixes from two of house music’s favourite names.

One of the most hotly-tipped artists within the current house landscape, it’s safe to say Cleveland-born, London-based DJ/producer HoneyLuv arrived in 2023 and hasn’t looked back since. Riding high following a whirlwind twelve months, featuring as one of Radio 1’s Future Stars, Tomorrowland’s ‘20 of 2023’, and as a DJ Mag North America cover star, plus being selected as one of Beatport’s ‘Beatport Next: Class of 2023’ and most recently as one of Spotify’s ‘Mint Artists To Watch’, her 2024 account opens with a big label debut as she heads to Damian Lazarus’ iconic Crosstown Rebel for the first time. Paying homage to the rich house history of Chicago, she unveils her latest single, ‘Right Spot’ - joined by a double-dose all-star remix cast in the form of house icons Dennis Ferrer and Byron The Aquarius, two individuals who need little introduction.

Groove-laden and rich, harnessed by the alluring vocal at the heart of the production, ‘Right Spot’ is an excellently crafted trip through varying shades of house music as slick percussion and vibrant leads accent hazy textures to offer up a future-focused cut with nods to the past.

Dennis Ferrer’s interpretation sees the NYC icon switch things up as he veers towards the after-hours with a bubbly, stripped-back take that leans on colourful stabs, sweeping melodies and off-kilter drum shots. To close, Alabama’s finest, Byron The Aquarius’ remix ups the tempo and launches right into the action as tunnelling grooves and skippy hats take hold for an energy-charged ride.

Omit’s in/Sec is “new,” but not new. Recorded in 2013, the masters lost in the label’s murky somewheresville that always shows up when moving. For those who don’t know, Omit is an experimental electronics artist from New Zealand’s south island who, since 1990, has released thirty-some xerographed cassettes and CDrs in the Dead C orbit for those who do. It’s not enough to say that in/Sec is an ambient masterpiece bringing to mind a John Carpenter soundtrack performed by the Hub because listening to it engineers new species. The infectious and corrupting sounds synthesize new life forms in your brain's enzymes. If you specialize in a niche too much, you are prey to predators outside, but Omit never goes for low-hanging fruit and isn't simulating anything. I can vomit a better looking face than the ones on these little fuckers eating my brain right now. In this century that flatters itself to be of drinking age, it is a queer thing we haven’t come face to face with aliens. There is a time for everything and they're all intermixed. Besides the xenobiological effects, Omit constructs your sentiment through timbral concepts that repeat and shift with minimal reference to harmony, melody, key, or mode. Streams jump and skitter, knitting tightly high and low in a dense rattling driven to the long and most plaintive tones amongst the countless gizmos (that’s including you, but not “you”). This one is for big fans of Anode/Cathode, Ikue Mori, Papa Srapa, Fronte Violeta, and Insignia refrigerators.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

"Cuban-born, drum genius Francisco Mela is releasing the third chapter of the iconic tribute to his legendary mentor and bandleader McCoy Tyner. Featuring William Parker on Bass and Leo Genovese on Piano."

Recorded November 13, 2020 by Jeremy Loucas at Douglass Recording, Brooklyn, New York.
Assistant engineer: Juanma Trujillo.
Mixed and mastered by Jeremy Loucas at Sear Sound, New York City.

Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.

From the liner notes:

The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.

"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.

"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.

I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.

"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.

I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.

Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.

Death Is Little More by Boundaries, released 29 March 2024.

This version of Death Is Little More comes as a 1xLP.

The vinyl is pressed as a splatter, white & black disc.

Tom Saltas (Deathloop, PUBG, Halo) zutiefst beunruhigender Soundtrack zum Horror-Survival-Spiel 'The Outlast Trials' (Red Barrels Games, 2023) wurde komplett (35 Tracks) für 180g Heavyweight-Doppelvinyl gemastert und erscheint samt Linernotes-Einlage. 'The Outlast Trials' bietet einen abwechslungsreichen Horror-OST mit gruseliger Audioproduktion und ungewöhnlichen Orchester- und Musique-Concrète-Techniken, ergänzt durch einen nervtötenden falschen Mid-Century-Jingle, jazzige Fahrstuhlmusik und Honky-Tonk-Klavier. Salta nutzt geschickt die Sprache der Musik, um die Menschen in eine alptraumhafte emotionale Dimension eintauchen zu lassen und die grausamen Erlebnisse zu unterstützen, denen die Spieler begegnen werden.

"Soul artist Bettye Swann was born in Shreveport, USA on October 24, 1944 and spent her first nineteen years in Louisiana. She moved to California and signed a deal with Money Records, recording her breakthrough hit ""Make Me Yours"" in 1967, which is still her biggest selling record. After the contract expired, she signed to Capitol Records and teamed up with producer Wayne Shuler and recorded a R&B version of Hank Cochran's country song ""Don't Touch Me"". On this comprehensive self-titled double album, compiled by Mark Ainley, classic songs such as ""Tell Me Like It Is"", ""Stand By Your Man"", ""(My Heart Is) Closed For The Season"", ""Willie & Laura Mae Jones"" plus 18 heartfelt soul songs showcase Bettye's unique voice. Bettye Swann is available as a 2LP and includes an insert with liner notes written by Tim Tooher. "

Bettye Swann by Bettye Swann, released 29 March 2024, includes the following tracks: "I'm Lonely For You", "Little Things Mean A Lot", "Just Because You Can't Be Mine", "Sweet Dreams" and more.

This version of Bettye Swann comes as a 2xLP. This release comes with (a) Insert(s).