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Percussionist Frank Ricotti played in the National Youth Orchestra and was rated the UK’s top vibraphonist during the late 1960s. In 1971, with guitarist Mike de Albuquerque, he cut the multifaceted jazz album, First Wind, which alternated between experimental rock-
influenced jazz and thoughtful adaptations of work by James Taylor, John Sebastian and Melanie Safka, with some surprising blues diversions too, such as Albuquerque’s “Go Out And Get It.” However, Albuquerque soon joined ELO as a bassist, putting an end to the duo.

"This fabled 11 minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams and Mike Manieri. In anticipation of the monumental forthcoming Natureza album release via Far Out Recordings, this astonishing version of a true classic gets it's first proper 12" release for Record Store Day 2022. In the spirit of making the release special for RSD, rather than make it a single sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side."

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

Limited version 2LP on red vinyl in gatefold sleeve. An outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

Wave to Mikey, the fourth album from the Los Angeles-based actor, musician and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. “I made this album for my friend Mikey from back home,” Danny explains. “We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit.”

Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music) and Fourth World music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny’s musical visions.

Wave To Mikey began as a series of sketches on analog synthesisers, guitar, sample and found percussion sketches, initially recorded in Danny’s home studio. Once he’d located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record.

For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. “He's able to encapsulate emotions in a very straightforward way, either in his portrait or songs,” Mario says. “I think that's a kind of virtue or skill given to talented artists, no matter the field.”

Born and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theatre) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York’s Chinatown neighbourhood, and eventually relocated to Los Angeles in 2017.

Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019) and CAPUT (2021). Over the course of these releases, he’s revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz and electronica records from around the globe, with a particular emphasis on Japan.

“Music is something that’s always been involuntary for me,” Danny reflects. “It’s unconditional, always there. It’s something I just have to do. I’ve taken breaks and it’s always gloomy when I’m not playing. I just want to get better and better and understand more and more.”

Here at Glossy Mistakes, Wave To Mikey marks our second contemporary album release, following on from Evenings by Japanese composer Metoronori. We’re proud to be able to present Danny, Metoronori and other modern musicians' work alongside reissues of classic works from Stevia aka Susumu Yokota, Akira Ito, Yuji Toriyama & Ken Morimura, and Takashi Kokubo.

Mastered by Damian Schwartz, Wave To Mikey will be released on Vinyl LP Glossy Mistakes on June 27 2022. Besides the regular black vinyl, a limited clear vinyl will be available in an edition of 100 copies. Both editions come packaged with original cover art photography shot by Danny.

Helmed by Dave Watts aka D.WattsRiot (Fun-da-mental), the debut KingL Man album, ‘Headonix’ is beat-laden shout out in response to the perpetual state of war we seem to find ourselves at. Outrage and disgust, love and hate, history and presence.

Contributions come from four continents.

Fresh on the scene is Senegalese vocalist Sidi I.B., who arrived on Canarian shores with two hundred other compatriots, cold, wet and hungry after seven days at sea with nothing but his future in his hands.

Temporarily housed at the infamous migrant holding centre in Las Raíces, Tenerife, the studio environment provided an avenue of relief from the inadequate conditions at the overcrowded camp.

Also from Senegal, living in Santa Cruz de Tenerife, is rapper Ibrahima El Latigazo who delivers his lyrics in French, Wolof, Spanish, English & Sérère. Rounding up the Senegalese contingent is Mame Samba, a group that hold the spirits close when performing. Their contribution is from recording sessions they had with François R. Cambuzat & Gianna Greco (Putan Club / Ifriqiyya Electrique).

Kiki Hitomi (Waq Waq Kingdom/King Midas Sound) returns to the fold, exhaling positivity with Canarian multi-instrumentalist Javier Afonso (Grenouille). The Canarian faction also includes violinist Mónica Viñoly, Dani Garcia (Lagoss/Tupperwear) and Vakawuare. Further guests include percussionist Miroca Paris (Cesária Évora/Madonna); Hamid Mantu (TransGlobal Underground);
Ramjac (Dub Colossus), drums and percussion respectively.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Clear Vinyl

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

“Lovage” is defined as “an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas…also touted to reduce flatulence when consumed as a tea.” But when placed in the able hands of sonic mastermind Dan “The Automator” Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of “music to make love to your old lady by.” With the help of collaborators such as Mike Patton (vocals), Jennifer Charles (vocals) and Kid Koala (turntables), Merriweather serves as your personal guide to the sensual side of life, painting a satirical, darkly funny portrait of love and sex with left-field hip-hop and instrumentals as only he can do.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

"October Language" is the debut album by New Orleans based duo Belong, comprised of Turk Dietrich and Mike Jones.

Since it's release in early 2006, Belongs debut masterpiece has accumulated a dedicated cult following, with comparisons to the work of Tim Hecker and Gas, with some claims that it plays like My Bloody Valentine's "Loveless" sans the songs. While these comparisons are useful for filing this album into a particular bin in the record shop, time has proven that "October Language" is a unique album which remains unmatched by its contemporaries.

Despite the warm and welcome accolades of the albums arrival, there was no vinyl pressing until 2009, of which a limited one-time pressing vanished immediately. Spectrum Spools is pleased to present a pristine vinyl cut to go with reimagined album art for the definitive edition of this legendary classic.

Physical copies include a download card with extra tracks from the impossibly rare Tour EP from the same era. These tracks are exclusive to the vinyl purchase and are not available through digital outlets.

The Days of Mars is the debut album from artists Delia Gonzalez & Gavin Russom. It was released on October 10, 2005. All the music was created by layering live takes of custom built synthesizers and other instruments. "DFA duo skips stones across the same cosmic lake as forefathers Tangerine Dream, Terry Riley, and Mike Oldfield. (...) Still, in a landscape full of seen and unseen phenomena, where the unknown seems almost passé, Gonzalez and Russom make music for taking things in stride. By turns bleak and beautiful, this is music for a new, but vaguely familiar world." - Pitchfork

OMEGA ist so gut wie alles, was The Alarm je geschaffen haben, vom Opener 'Protect And Survive' bis zur einzigartigen Interpretation des Massive Attack-Klassikers 'Safe From Harm' als Duett zwischen Leadsänger Mike Peters und Skindred-Frontmann Benji Webbe. Aufgenommen während 50 Lockdown Days Anfang 2021, erschien es kurz im Streaming, wo es überwältigende Kritiken erhielt, bevor es wieder heruntergenommen wurde, da allen Beteiligten klar wurde, dass dieses Werk einen richtigen, umfassenden Release verdiente. OMEGA wird zum VÖ mit einer exklusiven Filmpremiere von '50 Days In Lockdown' in New York vorgestellt, einem Film, der den gesamten Aufnahmeprozess dokumentiert, begleitet von exklusiven Videopräsentationen zu jedem Song in einer langen Social-Media-Promokampagne in der zweiten Jahreshälfte 2022.

On his latest album, 'The Sun is Shining Down', Blues legend John Mayall
teams up with a stellar cast to deliver a funky soulful affair punctuated by
brass, violins, harmonica and electric ukulele
Special guests include, The Heartbreakers' Mike Campbell, fast rising roots rocker
Marcus King, Americana icon Buddy Miller, Scarlet Rivera of Bob Dylan's Rolling
Thunder Review, Chicago blues guitar mainstay Melvin Taylor and Hawaiian
ukulele star Jake Shimabukuro. Also on hand are Mayall's longtime dynamic
Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums
with Austin's multi-talented and charismatic Carolyn Wonderland on guitar.
Recorded at Robby Krieger's (The Doors) Horse Latitudes studio with Grammy
nominated Producer Eric Corne, 'The Sun is Shining Down' is Mayall's 5th studio
album for Forty Below Records, a fruitful partnership that began with 2014's A
Special Life.
"I couldn't be happier with the new record," exclaims Mayall. "I can't wait to share
it with my fans. Each one of these special guests brings something unique to the
album and our team works so well together. I think you can hear that chemistry in
the music," raves Mayall.
The album explores a range of styles and eclectic instruments with guests
Scarlet Rivera's violin, Jake Shimabukaro's electric ukulele and Mike Campbell,
Marcus King, Buddy Miller and Melvin Taylor on guitars. As significant as each of
these guest turns is, however, they can't overshadow Mayall's own spirited vocals,
iconic harmonica and lyrical keyboard work.

After a parentship hiatus, Richard Zepezauer´s n s y d e imprint is back to push new boundaries and save some souls.

N s y d e proudly presents a next release by Skymark. It's his second full EP on the Berlin based imprint.

His Easy Saturday Night EP includes two excellent deep house jams backed with remixes by Kevin Reynolds and Mike Huckaby. The latter was previously released as a single sided limited edition.Skymark brings a bright and sun tinged house anthem on the Instrumental version of Easy Saturday Night on the A1.

The remix is in our opinion amongst Mike Huckaby's best productions. It touches the classic soulfulness of Larry Heard-style piano chords and blissful vocals combined with clear hints of Basic Channel's eternal electrifying waves. It's a perfect testament to Mike's unparalleled knowledge and wide musical range, Not only those who knew him will feel his presence while listening to this beauty.

On Insomnia, Skymark goes even deeper into deep soul territories. Pure vibes. Reworked by Detroit DJ and producer Kevin Reynolds. Made his frst appearance on nsyde back in 2011 and here he twists the original into N s y d e was founded 2011 by Richard Zepezauer.

N S Y D E will continue to bring back the family by unifying diverse artists from all angles of the electronic music familytree. N S Y D E believes in the political power of art, it brings together people.

N S Y D E does not believe in the power of political marketing of art, it divides people from each other. House Nation still under one Groove.

Early DJ support by : Antal (Rushhour), XDB, Laurent Garnier, Steffi (Ostgut), Electric Indigo, Dan Curtin etc.

The movements of KUNZITE’s Mike Stroud and Agustin White have seen them orbiting around each other, occasionally crossing paths yet consistently admiring each other’s work. The pair traversed the globe separately with their different projects and personal adventures -- Mike touring with his band Ratatat and Agustin on a spiritual journey exploring yoga, meditation and psychedelics -- while looking to one day do something together. The formation of KUNZITE saw them finally able to merge their minds and mission, with a sound that blends psychedelia with electronic, beat-heavy production and live instrumentation. Most of the recording process for their new album, VISUALS, started while at Agustin’s stripped back studio in Hawaii, and finished at Mike’s barn studio in upstate New York, with instrumentation including acoustic, electric and lap steel guitars, organ, synthesizers and the charango.

"Released in May 1986 on SST Records and Blast First! in the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility. “EVOL … marks the true departure point of Sonic Youth’s musical evolution,” noted Pitchfork, “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, impose melody and composition on their trademark dissonance.” ""If Daydream Nation is Sonic Youth’s opus, EVOL was crucial research. There’s a directness that makes everything feel close. It is pure tension with little release. The entire record is a shadow." Stereogum likewise praised the album as one, “full of suspense…, the cornerstone [Nico-evoking] monotone [by Kim Gordon]. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers in the vocal booth.” For Popstache, “EVOL slithers into the unconscious. Once the....detuned melodies and haunting riffs and final whispers of feedback depart from the speakers… the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” // “The seeds of greatness…” Pitchfork (who placed the album #31 of the Top 100 Albums of The 1980s) // “A near-masterpiece.” Trouser Press // “A stunningly fluent mixture of avant-garde instrumentation and subversions of rock’n’roll.” All Music Guide"

This amazing performance features songs from her highly acclaimed release
"The Blues Album" in addition to fan favourites and never- before- heard tracks.
This incredible event welcomes Grammy- Nominated Recording Artist and "The
Blues Album" producer Joe Bonamassa as well as Kenny Wayne Shepherd and
Mike Farris as the night's special guests, giving attendees a once- in- a- lifetime
concert experience.

Equipe de Foot is a French duo of singer-songwriters who record pop
songs and play them much louder on stage
Since their formation in 2015, Alex & Mike have played hundreds of gigs, from the
sweaty basements of their hometown of Bordeaux to the stages of nationally
renown festivals and European venues, making a solid name for their band, and
little by little becoming part of the new wave of French rock. Equipe de Foot now
admit that their flaws might be their greatest strength, and bring their love for
English and American indie pop music and production to the forefront in their
songs. For 'Geranium' they have chosen to work with producer and sound
engineer (and fellow Beatles fan) Johannes Buff (Thurston Moore, Lee Ranaldo,
The Drones, Dalek and other various amazing projects) at Shorebreaker studio in
Tarnos, France. A meaningful choice both in terms of technical and artistic skills,
Johannes was able to assemble Equipe de Foot's good old wall of guitars, as well
as reach the heart of their pop songs to make the whole thing gloriously shine,
without altering the charming homemade vibe emanating from their beloved
demos.
The album is a constant rollercoaster, alternating lo- fi ballads and powerful
anthems, but always with a twist, be it a pitched loop on a chorus or an auto
tuned solo trumpet at the end of a sad piano song.

Das vierzehnte Studioalbum der Alternative Country/Southern Rock Band aus Athens, GA zollt jener gleichnamigen Honky-Tonk Bar in Muscle Shoals, AL Tribut, in der Gründungsmitglieder Patterson Hood und Mike Cooley ihre Anfänge hatten und markiert eine deutliche Abkehr von den pointierten Kommentaren von The Unraveling und The New OK (beide 2020 veröffentlicht). Produziert von Langzeit-Kollaborateur David Barbe und live aufgenommen im Sommer 2021 in seinem Studio in Athens, GA, war Welcome 2 Club XIII nach nur drei Tagen auch schon eingespielt. Umso bemerkenswerter, hatte die Band doch eigentlich gar nicht die Absicht, ein neues Album zu machen. Gäste wie Margo Price, Mike Mills von R.E.M. und die in Mississippi aufgewachsene Singer/Songwriterin Schaefer Llana steuerten Background Vocals bei.

We are thrilled to be returning to the town of Twin Peaks with our very own version of Season 3’s Limited Event Series Score featuring tracks by Angelo Badalamenti, Johnny Jewel, David Lynch & Dean Hurley, split across 2 LPs the package compliments our previous Twin Peaks releases featuring a red die cut spot gloss sleeve that reveals a key moment in the show. Mike Bozzi at Bernie Grundman Mastering has mastered the vinyl and Bernie Grundman supervised the cutting master with pressing duties being handled by QRP (Quality Record Pressings in Kansas). The work here is incredible, whether breathing new life into familiar themes or creating brand new ear worms in the form of smokey jazz, Ambient and Industrial stylings. The score is thick with atmosphere and dripping in mood and tension proving once again that Lynch & Badalamenti are both bona fide geniuses who deserve every plaudit given to them

Twin Peaks: Limited Event Series Soundtrack 2XLP. Various Artists. Pressed on 2X 180 vinyl
(Cherry Pie Splatter & Machine Room Grey).

"This fabled 11 minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams and Mike Manieri. In anticipation of the monumental forthcoming Natureza album release via Far Out Recordings, this astonishing version of a true classic gets it's first proper 12" release for Record Store Day 2022. In the spirit of making the release special for RSD, rather than make it a single sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side."

Cave dwellers TEMPLE OF VOID finally return from the inky abyss on their highly anticipated new album, Summoning the Slayer. The critically acclaimed, Michigan-based quintet—featuring Alex Awn (guitars), Don Durr (guitars), Mike Erdody (vocals), Jason Pearce (drums), and Brent Satterly (bass)—hunkered down during the last two years, expanding upon their brand of fusty, artfully brutish death-doom with equal parts process and imagination. The outcome is an album that feels massive yet sepulchral, exploratory yet distinguishable—as if crafted deep below and inspired by all the things (mentally and physically) that come with their subterranean endeavor. Summoning the Slayer creepily evolves TEMPLE OF VOID. Produced, mixed, and mastered by Arthur Rizk (Power Trip, Sumerlands, Candy, and more,) Summoning the Slayer pairs long-time influences and a bevy of non-metal vectors into hulking columns of heavy and desolation. Focus tracks “Deathtouch,” “Hex Curse,” and “The Transcending Horror” showcases TEMPLE OF VOID’s death-doom at its heights and their massive, crushing lows. But the group’s fourth album is more than that. The album’s capper, “Dissolution,” is one example of the Detroiters stretching out, the song’s ‘70s rock/singer-songwriter motifs hitting The Moody Blues and Nick Drake hard. Lyrically, Summoning the Slayer eschews commonplace horror tropes with a deeper, broader psychological discussion of the self. TEMPLE OF VOID’s ultimate death-doom metal journey is now complete.

Covet was founded by guitarist Yvette Young with the intention of fusing lush post rock soundscapes with the subtle technical intricacies of progressive rock, After playing numerous local shows in Northern California the band released the Currents EP in late 2015. The band toured throughout the west coast building a buzz for their dynamic live show. In 2017 Covet highlighted the year by supporting Polyphia, Jason Richardson tour and followed that up with the Chon, Tera Melos, Yvette was recently named one of the top 50 sensational female guitarists by Guitar Player Magazine, Early 2018 the group entered VuDu studios with Mike Watts (The Dear Hunter, O’Brother, Gates, Dillinger Escape Plan) to record its upcoming sophomore release effloresce.

Mikey Dread is known as one of the most multi-faceted artists, comfortably taking in both the positions of producer and artist. By the late Seventies he had started his own label, working with artists such as Edi Fitzroy, Sugar Minott and Earl Sixteen, as well as producing his own work. On his own label he released World War III in 1980. The album includes the tracks “The Jumping Master”, “Money Dread” and “Break Down The Walls”.

World War III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl.

This second release on Heads High brings an EP from label owner Mike Misiu under the moniker Day Out Of Time. Four diverse tracks forged from a year of studio jams, road tested on airwaves and discerning dancefloors and now honed and available for your delectation.

Opening 4/4 cut 'Rising Tide' builds the atmosphere and tension with synth stabs, morphing arps and a throbbing sub-bass. 'The Urge' struts in on a hybrid electro-funk tip, twisting, chopping and vocoder-ing an 80's rock vocal and sax into a dance-floor detonator.

On the flip side 'Private Ay' chugs along on a mid-tempo Moog bass groove that re-imagines and re-works some infamous guitar licks, before the E.P. climaxes with 'When Love Beckons' - a pulsing electro-discoid ode to love, powered by moody analog bass, acid lines and an impassioned poetic vocal.

All tracks produced by Mike Misiu, mastered by Curved.

Though the past three years have seen Andrew Bird busier than ever - between his acting debut in FX limited series Fargo, a long-awaited collaborative LP with Jimbo Mathus, an instant-classic Christmas record, a nonstop series of live streams, an original score for acclaimed PBS documentary Storm Lake, and more - “Inside Problems" picks up where he left off with 2019’s GRAMMY-nominated album, My Finest Work Yet. Produced by Mike Viola and Recorded at United Recording featuring musicians: Alan Hampton, Madison Cunningham, Abe Rounds, Jimbo Mathus, Mike Viola. Andrew Bird will be touring Europe in the summer including Shepherds Bush London in July Available on CD, Black LP.

LIMITED EDITION OF 300 YELLOW VINYL COPIES

Shawn Lee follows up his country-soul solo album "Rides Again", released in 2019, with an even more personal, intriguing set of songs. The US born and London based prolific singer, songwriter, musician, producer, arranger, filmmaker and author puts the story of "Rides Yet Again" in his own words.

"When the original pandemic lockdown of 2020 ascended upon the world, I found myself like many others a prisoner in my own home. I began thinking about making new music. What do I wanna do I pondered… 'Rides Again' was a personal once in a lifetime album or was it? After some reflection, I realised there was more to this story, this sound. As I eventually crept back to my studio ducking and diving all the way, I started writing and recording new songs for Rides YET Again. The lyrics heavily informed by life during lockdown, my new dog Carla and my recent health problems. I had suffered a stroke which left me with some brain damage and I struggled with Aphasia for well over a year with extremely impaired speech. It was hard … I found solace in song and a musical context to share my ups and downs. It was a beautiful place to retreat to. John Pickup brought his brilliant orchestral treatments. Also Nichol Thomson, Tom Walsh, Mike Davis & Andy Ross blessed me with their sublime horn stylings. Suffice to say I'm really quite fond of this little record. Much love to you wherever you may be."

Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash line up of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now rereleased as a 180gm 3LP special edition, with an additional 12 tracks compiled by The Clash.

Having returned to London following their pivotal 17 show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatting Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.

The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

Also includes rare Pennie Smith images + history of Frestonia essay by Tom Vague.




















t d5 The Fulham Connection aka The Beautiful People Are Ugly Too




















[t] d5 The Fulham Connection [aka The Beautiful People Are Ugly Too]

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

John Mellencamp veröffentlicht sein 25. Studioalbum “Strictly A One-Eyed Jack”, das von ihm selbst produziert wurde. Aufgenommen und abgemischt wurde es von Grammy-Preisträger David Leonard und
einer Reihe von langjährigen Bandmitgliedern wie Andy York, Dane Clark, Mike Wanchic, Troye Kinnett uvm. Es enthält auch drei Kollaborationen mit Bruce Springsteen, darunter das im September erschienene, bahnbrechende Duett ”Wasted Days”.


“Strictly A One-Eyed Jack” erscheint digital, als CD und nun in neuem Format als 1LP!

Repossessed by the past, bitten once again and forced to relive drama, history, memories, tradition and roots. A past that needs exorcizing, bending and re-imagining in order to move forward and depend on. This is ‘Rimorso’, Mai Mai Mai’s colossal mediterranean gothic album.

Known for his incredible blend of Southern Italian Folklore, industrial drone, proto-techno & punishing miasmic electronic music, Toni Cutrone aka Mai Mai Mai approached ‘Rimorso’ with a clean slate. Following ‘Nel Sud’ (La Tempesta International, 2019) and his mediterranean trilogy ‘Theta’ (Boring Machines, 2013), ‘Δέλτα’ (Delta) (Yerevan Tapes, 2014) and ‘Φ’ (Phi) (Not Not Fun Records / Boring Machines, 2017) the Roma based noise artist recreated his spirits of the past by collaborating with musicians and ethnomusicologists that work on the present, on traditions that are still passed on and morphing continuously, healing our nostalgia for a lost future. ‘Rimorso’ sheds the past heavy use of samples and sound manipulation in lieu of a human element: voices, percussion, lap steel guitar all embedded in a rich cultural heritage.

Following a decorated career with Philly rock group Superheaven, singer and guitarist Taylor Madison meanders into newly-refined songwriter territory with the inception of Webbed Wing in 2018. Joined by Jake Clarke (drums) and Mike Paulshock (bass), the band fully realizes their innate genre-blending musicality.

Webbed Wing’s somewhat simplistic approach to songwriting explores what it means to birth a sad song without fully killing a mood, paired with a soundscape laden with nostalgia and a tasteful pop-rock resurgence. Taking notes from the likes of The Lemonheads and Teenage Fanclub, Webbed Wing encapsulates everything lyrically gripping about indie and everything vibrant about modern pop. While also expertly intertwining the heaviness of metal and the earnesty of country, the band blends all these different aspects of their craft into something highly palatable and new.

"A high-octane pop with a glam coat"

When listening to Hey You! - mastered at Air Studios by John Webber -, the energy the band exudes on every track is palpable, and live, they're simply something else, giving it their all on every number and completely winning over the audience. Visually, the band are are eye-catching as their music, looking straight like they've stepped out of the '80s. Fronted by the Debbie Harry-esque Rebecca Bex, BeXatron make as much of a statement visually as they do musically, and it's an extremely welcome breath of fresh punk air to see a band that is obviously so incredibly passionate about what they do, and that has the talent to back it up.

Since the release of the album, we have been played worldwide on various shows ranging from mainstream such as:

BBC Radio 6, BBC Introducing, Total Rock, Planet Rock, Soho Radio

but also had tremendous support from local community radio stations:

Insanity Radio, Resonance Radio - Spizz FM, Hunter's Bay Radio, Ontario Canada, Foxy Radio, Deal Radio - Low Life in High Heels, The Chuff Bus, Dark Hearts of Camden, Premium Blend Radio Show, Punk & Preppy Radio Show, Pennsylvania

Perfect for summer clubbing... or any season. Highly recommended. - MIKE NICHOLLS from Ghostwriter books

Sonic Party Sounds, and the packaging looks as good as the band - MARK TAYLOR from Metal Talk/RecorD Collector Magazine

This is the kind of music that is sure to thrive in inner city suburban surroundings - MUSIC NEWS 2 DAY

Cracking. Catchy stuff - SONIC NEWS

The title already says it all: This compilation is an album of instrumentalsonly, something that bandleader Tosho Todorovic has had on his to-do list for quite a long time
The album brings together 15 'songs without words' from the last 30 years of the band, which was founded in the German town of Osnabrück in the mid-1970s. And that also means that these songs, which were recorded either live or in the studio, reflect the history of the Blues Company and is various line- ups, with Tosho Todorovic and second guitarist and singer Mike Titré being the only two constant band members over all these years.

With three exceptions all of the songs were penned by Tosho Todorovic, but of course there is also a version of the Freddie King classic ‘Hideaway’, a long-time staple of the band’s live repertoire.

Australian hip-hop/neo soul duo SO.Crates are a boom-bap prayer sent live and direct from the heart of two of the culture’s most committed students. The group features Melbourne based beatmaker and DJ Skomes alongside California-via-Adelaide MC & poet Cazeaux O.S.L.O, not to mention the MUSE, a forever changing third party who completes the creative trinity of the Crates. With a legacy built on releasing a steady flow of cold-crush records and delivering uplifting live performances to the party people, SO.Crates prove that hip-hop’s golden era is not a lost date in time, but a foundational state of mind. Functioning as a considered preview of what to expect from the album to follow, the hypnotic first release 'Stars' is an auditory exploration of what happens when two opposing charges collide; the joyful and the melancholy. Here, layers of instrumentation, samples and vocals sit atop a foundation of grounding beats — the track's roots from which piano samples, live trumpet and vocal embellishments spring. "When Skomes gets in his stride, it's always a bit of a happy/sad feeling. It can go either way, like a mood ring", says Cazeaux O.S.L.O. "I guess you could say we make mood ring beats, and 'Stars' is no exception".

Idrissa Soumaoro, L’Eclipse De L’I.J.A.’s sought-after album ‘Le Tioko-Tioko’ was originally released in the German Democratic Republic (GDR) in 1978 and has been a long-time favourite at Mr Bongo. Two tracks from the album were featured on our 2017 compilation ‘The Original Sound Of Mali’ (MRBLP135), and we subsequently released the track ‘Nissodia’ on its own 12” (MRB12053) in 2020, complete with a blistering dancefloor re-edit by Mike D of The Beastie Boys.

‘Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany. The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state-owned label Eterna with only a few boxes of records being shipped back to Bamako.

A true masterpiece, this legendary LP offers some devastating songs such as ‘Djama’ (society), ‘Nissodia’ (joy of optimism), and ‘Fama Allah’ (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it will reach the wider audience it deserved over 45 years ago.

Many thanks to Florent Mazzoleni for contributing sections of these notes.

Recommended If You Like: Bugg, Young Guv, Turnstile, Supercrush, Angel Du$t. Hey, what's up. You heard of Jacky Boy? They're this band from Indiana, and I like em a lot. They put out a record a few years ago that is really good (2017's On Good Terms With Everyone You Know). Kind of vulnerable, but not-too-emo, catchy as hell, fun-and-feeling Midwest rock songs. Anyway, they made a new record called Mush, and it's great! This entire album is built on top of an unambiguous sense of relief. Relief from immaturity, relief to grow, relief to be happy, relief to be free because it makes you happy, these are the recurring themes of the album, and also exactly how it feels when you listen to it. With the addition of Zac Canale's waning-Gen X / Millennial Rising MTV-College-Rock guitar fluency, Jacky Boy's previous nods to 1990's slackerdom are injected with a new genuine authenticity and exploration. And Mark Edlin's emotive, confident drumming betrays his youth without a noticeable care in the world. But the cares are in there. This isn't throwback music. This record is strong and cathartic and speaks for itself. The songs are catchy and fond, the vibration is easy, and the feeling is real. Mike Adams.