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Dear listeners, here's the next episode of the Hamburg Spinners story: "Der Magische Kraken" ("The Magic Octopus")

This time Hamburg Spinners left their home port for an underwater expedition to the open ocean diving for unheard tunes, finger snappers and floaters. Always in danger of encountering the Magic Octopus, a voracious entity who feeds on harmonies, rhythms and breaks -in a word the whole arsenal any musician is lost without and damned to drown in a sea of deadly silence and endless darkness... Listen yourself, enter a different world and witness how the Hamburg Spinners are getting carried away and drawn into the depths. A 20.000-mile plunge into the sea. Honestly! Had you ever thought that one can sink this low?

"Der Magische Kraken" is the sophomore album of the Hamburg Spinners, a contemporary soul, mod-jazz and R&B outfit based in Hamburg. Their sound blends floating Hammond organ lines, kinetic, driving grooves, funky breaks, and slicing, economic improvisation. The quartet features Carsten Meyer on Hammond B-3, Dennis Rux on guitar, David Nesselhauf on bass, and Lucas Kochbeck on drums. It was cut live on two weekends in April 2021 in Hamburg's Yeah!-Yeah!-Yeah!-Studios. The chemistry was right and in a truly democratic process ideas were fleshed out, arrangements were done on the spot. A will to collective playing whilst always sticking to the rudimentary basics was in the air. Thus the music could spread out like the arms of an octopus. And though there are limits on the sound of the Hammond organ quartet creativity can burst out & find its way to overcome the limits. Reminiscences of down-to-the-bone songs by Timmy Thomas or Phoenix might come to one's mind when listening to the new Hamburg Spinners album.

Never change a winning team: Meyer's soulful organ sound is buoyed by Rux's warm and gripping guitar sound, Nesselhauf's dynamic bass lines and Kochbeck's tight in-the-pocket drumming.

Now Available On Cassette Tape! Music By Madlib Arranged By Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieran Hebden AKA Four Tet

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Charismatic trombonist and pianist Malcolm Jiyane debut album as frontman is more than merely one individual’s breakthrough. Workshopped and recorded within two days in Johannesburg, UMDALI stretches the idea of what it means to improvise within the context of jazz.

Operating from the fringes of the South African jazz scene, the enigmatic yet charismatic trombonist and pianist Malcolm Jiyane delivers a major contribution to the canon -- one shaped around dedications to key figures in his personal and professional life. Several years ago, Jiyane was dealing with the death of a band member, the birth of a daughter and the passing of his beloved mentor Johnny Mekoa, founder of the Music Academy of Gauteng, which Jiyane attended from a young age. These life-altering events give shape to the music’s emotional register and its thematic concerns.

In Black Music, his book of essays and critiques, Amiri Baraka makes the point that jazz musicians, be it in the construction of solos or in other aspects of composition, always draw on the works of their contemporaries or elders. How much outsiders pick up on that is really dependent on how au fait they are with the music. In this album, Jiyane finds comfort in this well-trodden path. Two songs make for great examples. Umkhumbi kaMa, a jazzfunk track celebrating the creative force as inhabited by women, the motif to Herbie Hancock’s Ostinato (Suite for Angela) is a clear reference, connecting in one swift move, not only the musical traditions of the Black Atlantic but also the struggles and triumphs of women across space and time. On the same note, the free-form Solomon, Tsietsi & Khotso, conjured in the same jam session that yielded SPAZA’s UPRIZE!, appears here in a more fleshed out form as Senzo seNkosi; a tender dedication to Malcolm Jiyane Tree-O bass player Senzo Nxumalo.

Jiyane’s path to the realisation of his debut album as frontman is more than merely one individual’s breakthrough. Workshopped and recorded within two days in Johannesburg, UMDALI, not unlike Miles Davis’ landmark Kind of Blue, stretches our idea of what it means to improvise within the context of jazz.

Pink Vinyl
It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

A trademark feature of Fontän is their ability to sound far out into cosmos but still earth-bound. The spacious vibrations in the music seem to come from somewhere hidden deep beneath the moss, a sound travelling through thousand miles of mycelia from tree to tree covering vast areas of forest landscape before shooting out from the leaves through the atmosphere, straight into space.

Fontän pays justice to the term neo psychedelia. It´s easy to grasp the term “psychedelic” but harder to actually produce relevant psychedelic music. This band does just that; the respect for the for the past masters of psychedelia is obvious but Fontän doesn’t make sentimental music – they keep pushing the envelope of what this genre is.

In a parallel universe with the Kosmiche Musik being born in Sweden, this is how the Norse equivalent of Tangerine Dream might have sounded like.

The last Henry Cow record made after the group had officially disbanded. I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc. Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.

* Following on from the success of our 'Liftin Spirit Reloaded' vinyl series, we are pleased to announce our next project in collaboration with Ram Records. 'Ram Reloaded' will be a series of limited 12" vinyl from Ram's early years, re-mastered from the original DATs and presented onto our usual, high quality, heavy weight vinyl.

* 1995 was a huge year for Ant Miles & Andy C with new tunes exploding from their studio in Hornchurch, Essex. Once again exploiting the Amen break to the fullest with bass pounding 909’s matching the transients to the rhythm exactly with the profound vocal ‘What goes around comes around’. This track once again featured the Ram style hard impact drop and roll out. For the flipside ‘Here and Now’, Ant Miles invited his regular session singer Maxine Barden over to perform original vocals over a more melodic ‘liquid’ style Drum and Bass track that was awash with haunting pads and strings.

Aeon Station’s ‘Observatory’ is an epic statement more
than a decade in the making, with miles of timeless
melodies and the kind of overpowering songwriting
that will reaffirm your belief in life itself.
 Band leader Kevin Whelan co-founded and was a key
songwriter for New Jersey indie-rock legends The
Wrens. The Wrens’ landmark 2003 album, ‘The
Meadowlands’, received a 9.5 Pitchfork review and
made Pitchfork’s Albums Of The Year list. Since that
album, fans and press have been eagerly awaiting
new material from The Wrens members.
 Whelan’s scope of musical vision on ‘Observatory’ is
wide open and free with possibilities - at once recalling
the reflective wisdom of Bruce Springsteen, Broken
Social Scene’s huge anthemic burn, and the Wrens’
own pulsing-with-life take on rock music. Above all,
this is music not only for dreamers but for those who
realize and appreciate the enormity of every moment.
“It’s about never letting go about those dreams and
your passion,” he states. “The album starts from a
place of realizing that everything is temporary, what we
love eventually changes or leaves us, and regardless
we continue to search and find our way back home.”
 If you’ve ever caught air in your lungs or felt your heart
beating in your chest, there’s no doubt that you’ll find
some level of connection with ‘Observatory’’s openhearted, instantly classic-sounding rock.
 LP pressed on cloudy blue vinyl.

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

Many great Blue Note artists have hailed from the jazz hotbed of Detroit over the course of the label's history including Donald Byrd, Kenny Burrell, Paul Chambers, Thad Jones, Elvin Jones, Joe Hendreson, and many more. Perhaps the only instance on an entire band coming out of Detroit was with Kenny Cox and the Contemporary Jazz Quintet, a fantastic but unsung combo led by pianist Kenny Cox whihc featured Joe Henderson's brother Leon Henderson on tenor saxophone, Charles Moore on trumpet, Ron Brooks on bass, and Danny Spencer on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing Kenny Cox and The Contemporary Jazz Quintet, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the Miles Davis Quintet with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams, but the CJQ exhibited its own unique sensibilities on memorable originals like "Mystique", "trance Dance", "Diahn", and David Durrah's beautiful piece "You".

La Maison's story is essentially an oral one, like for many bands in those years. Casual encounters, records found and exchanged, demos recorded at home, live club shows in a country that in those years was changing socially and culturally at the speed of light, and was molding itself at the rate of a fluid modernity. The tracks of this album, Collected Tape Experiments 1980-1984 tell the story of a world where synthesizers and drum machines coexist and replace traditional rock instruments. Where homemade overdubs broaden the spectrum of sonic possibilities and the "cut and paste" of tapes is done, literally, by hand. A world in which the first infatuations for wave and industrial are contaminated with no prejudice by the rhythms and sounds of funk and disco. A milestone for those who want to understand the vibrant landscape of Italian music of the eighties, many times too hectic and elusive to be captured in real time. Twenty one tracks on CD and twelve on vinyl, most of them never published before, see the light of day more than thirty years after their creation. - Livia Satriano

 ‘Paint It Blue’ is dedicated to the man who, for many still today embodies
the central figure at the genre’s source: Julian Edwin ‘Cannonball’
Adderley (1928 - 1975). Maybe he didn’t invent Funk. Together with his
co-musicians in his 60s quintet, Cannonball’s alto sax style, his attitude,
humour great musicality, and his love for his audience allowed him to
become a synonym for funk.
 Nils Landgren, born in 1956, grew up between the music of his father, a
Jazz cornet-player, and the music of his grandfather, a pastor on the
island Gotland. He first heard Cannonball Adderley on ‘Kind Of Blue’. In
this Miles Davis Sextet of the late 1950s, they were all together: “Miles,
the master of beauty. Coltrane, the master of sound. And Cannonball
Adderley, the master of funk,” Nils Landgren writes in the liner notes to
‘Paint It Blue’. From that point on, he procured everything of
Cannonball’s that he could lay his hands on. “Without the soul of
Cannonball it would have been impossible to form my group Funk Unit
many years later,” he writes.
 Landgren edited Cannonball’s live concert announcements into his own
arrangements, so that the time jump between the original and the
nouveau arrangement appears non-existent. An effective device that
literally brings this revered musician into the fold of Nils Landgren’s Funk
Unit.
 Whoever speaks of Cannonball Adderley, must also speak equally of his
brother Nat Adderley. It was an obvious thought to invite the most
important brothers in Jazz after the Adderleys to guest on ‘Paint It Blue’;
with the high energy Funk-Jazzrock of the late 70s, the Brecker brothers
have proven worthy heirs to the Adderleys. Both of them solo on
Landgren’s track ‘You Dig’.
 The equally noble and forcible groove is delivered by the sideman to
countless Soul greats, Bernard Purdie. Bernard’s own stylistically related
production with the Brecker Brothers, Nils Landgren, amongst others is
now strongly in the public consciousness on ‘Soul To Jazz’. Much like
Cannonball Adderley, Airto Moreira owes important impulses to his time
with Miles Davis.
 ‘Paint It Blue’ is possibly Nils Landgren’s most lavish record to date and
with some certainty also his best. Landgren’s playing is cool and smooth,
with warmth, temperament and thought. Here his sound combines
organically with everything he surrounds himself with. The album sounds
as if the recordings for it were a pure joy for all participants. Nils
Landgren has the prerequisite for serious fun, the gift of intelligent
serenity.

The Waterboys 1990 album ‘Room to Roam’ was the bands fifth album. It continued the Folk-Rock sound of 1988's Fisherman's Blues and was recorded at Spiddal House in Galway, where the last recording sessions from the preceding album, Fisherman's Blues, had been recorded. Room to Roam would be the last of The Waterboys' Folk-rock sound until the release of Universal Hall in 2003. Fiddler Steve Wickham, who had been a large inspiration for the change to that sound for Fisherman's Blues, left the band shortly before Room to Roam was released.



This new vinyl has been produced to compliment The Magnificent Seven CD/DVD/Book box set. Mastered for Half-speed and cut by Miles Showell at Abbey Road and made into a double album running at 45rpm. The original artwork has been presented in a new 5mm wide spine sleeve, polyline inners and insert.

The Lord of the Rings film trilogy is among the most successful in cinematic history. Based on the popular J.R.R. Tolkien novel of the same name, these award-winning movies were directed by Peter Jackson and scored by composer Howard Shore. The epic story of Middle-earth arrived in theaters 20 years ago, in December 2001, when The Fellowship Of The Ring made its highly anticipated debut.

To celebrate that milestone, Rhino is releasing a 12” picture disc that includes “May It Be,” the critically acclaimed single Enya recorded for the film’s soundtrack. In 2002, that song was released on a CD single with two more Enya songs: “Isobella” and “The First of Autumn.” Those tracks will make their vinyl debut on MAY IT BE to be released on December 3rd.

Peter Jackson asked Enya to write a song for The Lord of the Rings. She agreed and began writing what would become ‘May it be’ with her longtime producer/arranger Nicky Ryan and her lyricist, Roma Ryan.

Embraced by fans and critics alike, “May It Be” would go on to be nominated for an Academy Award® for Best Original Song; a Golden Globe® Award for Best Original Song; and a Grammy Award for Best Song Written for Visual Media.

Enya recorded the other two songs featured on MAY IT BE while making her fifth studio album, A Day Without Rain. #6 on the UK Album Chart, the album has sold more than 16 million copies and is ranked as the best-selling new-age album of all time. “The First Of Autumn” is an instrumental that appears on the original studio album. The other track, “Isobella,” is a rarity that can be found on the Japanese edition of A Day Without Rain.

MAY IT BE arrives just in time to celebrate the 20th anniversary of The Fellowship Of The Ring and its popular soundtrack. That collection is certified platinum in the U.S., where it won the Academy Award® for Best Original Score and the Grammy® for Best Score Soundtrack Album.

Deluxe LP edition, remastered using transfers from the original
tapes lifted from the Phillips vault by mastering legend Kevin Gray.
 Pressed at Pallas on 180g heavyweight vinyl and housed in a thick
reverse-board sleeve with additional insert featuring photographs
and words by bassist on the session Bill Crow.
 This session, recorded at New York’s Nola Penthouse Studios in
1963, is a little-known masterwork from the incredible Gerry
Mulligan catalogue.
 Baritone saxophonist Gerry Mulligan was a true icon of jazz, being
one of the prominent figures in the West Coast scene through the
1950s until his death in 1996. Voted Number One musician in his
instrument by Downbeat Magazine for 42 years in a row, Mulligan
was one of the key players of his time and a figurehead who
helped shape the sound of jazz to come.
 From periods in the ‘Birth Of The Cool’-era Miles Davis line up, as
well as forming a piano-less quartet with Chet Baker, Gerry was
always on the frontline of what was hip and happening in
America’s one true art form.
 With its striking Oliver Hardimon designed cover, ‘Night Lights’ is
the very definition of refined cool jazz. Shimmering with a latenight beauty that perfectly evokes a sophisticated New York City in
the early 1960s, Gerry and his Sextet fuse slow burning jazz noir
alongside emerging contemporary Brazilian rhythms, with the
interplay between Mulligan and guitarist Jim Hall a particular
standout throughout.
 Title track ‘Night Lights’ is a wonderfully smooth, low light tune,
while the Latin-tinged ‘Morning Of The Carnival’ really finds the
band in their finest and most swinging form. A cover of jazz
standard ‘In The Wee Small Hours Of The Morning’, followed by
Chopin’s ‘Prelude In E Minor’ continues the delightful groove
before we finish out with Mulligan originals ‘Festival Minor’ and
‘Tell Me When’.
 For this version of the release, New Land have also included the
1965 version of ‘Night Lights’, which gives an interesting
comparison, performed by his later day Quintet featuring the
Wrecking Crew’s legendary Hal Blaine on drums, amongst others.

“Victory in Blood” is the band's first studio album in over 10 years and offers fresh material for the first time after the highly acclaimed 2018 EP "Annihilation". The new longplayer can be counted as another milestone in the long band history of UNANIMATED and proves that they are still true masters of Nordic Black/Death Metal with insane melodies! The truly incredible artwork and layout was handled by none other than Daniele Valeriani (Mayhem, Triptykon, Behemoth, Dissection, etc. – just to name a few). The vinyl version comes in a Ltd. Gatefold 180g. 2LP, with an Etching on Side D, Art Print and 12-page LP-Booklet. This exclusive vinyl edition also includes a cover version of Brazilian metal legends Sarcofargo, which will be only available on this format. The CD version comes as a 6-panel Pocket Pac eco-friendly enclosure with 12-page CD-Booklet. Also available as digital album.

CAM Sugar launches its new HERITAGE collection dedicated to the most celebrated soundtracks that made the history of Italian cinema. The opening title is Federico Fellini’s milestone AMARCORD, which is here presented for the first time ever as a 180gr gatefold double LP, carefully restored and remastered from the original master tapes. AMARCORD won an Academy Award in 1974 as Best Foreign Film, besides receiving two nominations for Best Director and Best Screenplay. The sweet and evocative music by Nino Rota takes the listener on a journey through the places of Fellini’s boyhood in Rimini, creating a combination of music and images that is absolutely perfect and still internationally appreciated today. This edition includes a 30x75cm illustrated poster, with a reproduction of the original Nino Rota music sheets. This very special re-release of this classic by Nino Rota is in honor of what would have been his 110th birthday.

Here is the second volume of Serge Gainsbourg's complete vinyl collection which traces the artist's career from 1971 to 1987. In order to provide the best sound quality, the original mixed tapes were entrusted to the sound engineer Miles Showell ( responsible for the reissues of the Rolling Stones, Queen, etc.) who did the mastering at Abbey Road studio with Half Speed ​​Master technology. 180 gram vinyl box.Reviews and Ads –, London Macadam, Mojo, Sunday Times, R2

CAM Sugar launches its new HERITAGE collection dedicated to the most celebrated soundtracks that made the history of Italian cinema. The opening title is Federico Fellini’s milestone AMARCORD, which is here presented for the first time ever as a 180gr gatefold double LP, carefully restored and remastered from the original master tapes. AMARCORD won an Academy Award in 1974 as Best Foreign Film, besides receiving two nominations for Best Director and Best Screenplay. The sweet and evocative music by Nino Rota takes the listener on a journey through the places of Fellini’s boyhood in Rimini, creating a combination of music and images that is absolutely perfect and still internationally appreciated today. This edition includes a 30x75cm illustrated poster, with a reproduction of the original Nino Rota music sheets. This very special re-release of this classic by Nino Rota is in honor of what would have been his 110th birthday.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

Armand Bultheel is half of the group Agar Agar. He also makes music on his own, which he now feels ready to present to the world.
He composed an album, Lullabies For Computers which will be his first to be released on vinyl.
It's a series of lullabies, addressed to our computers that so often accompany us in bed and sleep - even if in the end, while composing the tracks, Armand felt more like writing them for his friends. With this album, he presents a sensitive and organic electronic music,
whose softness provokes a contrast of emotions between joy and melancholy.
Happy to share these tunes, he put in the softest ingredients possible, with round bass and little melodies that wander over.
He slipped in the colors of his favorite synths, one of which he made in the shape of a human mouth.
Lullabies for Computers is the second part of the new "Meditations" series from Cracki Records, a series of records made to listen (for once) to escape and dream.

Truly adventurous and life enhancing music that invigorates your soul. TIP!

Press Release:

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.

The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.

Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.

Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

All music by Spajic Stecher Möbius except ‘Don’t Ask How I Live’ by Miodrag M. Ilić, original title Što me pitaš
All lyrics are traditional, except ‘Don’t Ask How I Live’

Svetlana Spajic — vocals
Andi Stecher — drums & percussion
Guido Möbius — bass, feedback, electronics

Recorded by Alberto Lucendo at UFO sound studios Berlin in March 2020 mixed by Morphosis
Mastering by Neel at Enisslab, Rome
Artwork by Lorenzo Mason Studio

Released in 2009, Tear Gas is the fourth and arguably most notable studio album from The Jacka. Peaking at #93 on the Billboard Top 200, the 19-track album is packed with features from both Bay Area and national legends, such as Andre Nickatina, Matt Blaque, E-40, Mistah F.A.B., Cellski, Zion I, AP.9, Dubb 20, J. Stalin, Devin The Dude, Paul Wall, Masspike Miles, Planet Asia, Cormega, Ampichino, and Freeway. The album features the hit singles, "All Over Me feat. Matt Blaque," and "Glamorous Lifestyles feat. Andre Nickatina"

The 20th milestone release in the Generation Series lineup, this 5-LP abridged set features 82 tracks that play in the first half of Shenmue III, which takes place in Bailu Village. Comes in a top lid box (similar to recent Generation Series releases from Brave Wave) with liner notes, archival artwork and a digital download code for all 196 tracks.

he 20th milestone release in the Generation Series lineup, this 5-LP abridged set features 82 tracks that play in the first half of Shenmue III, which takes place in Bailu Village. Comes in a top lid box (similar to recent Generation Series releases from Brave Wave) with liner notes, archival artwork and a digital download code for all 196 tracks.

For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days.

Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki.

Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again.

Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma).

The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974.
“I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” (Jérôme "Kalcha" Simonneau)

Dutch veteran Ekman bring his distorted signature sound to Lifeforms with two heavy, spaced out and acidic electro tracks. Digital download included.


Support from: Alienata, Filmaker, Miley Serious, Chupacabras, DVS NME, AETYECK,

Repress - Yellow Vinyl

Harlem River marks the solo debut of songwriter Kevin Morby. Known for his work as the singer/guitarist for the Brooklyn band The Babies and bassist for Woods, the Kansas City native and new Los Angeles resident, calls the record “an homage to New York City”, his adopted home for the past five years. Harlem River features eight interweaving tales of tragedy and misfortune; a series of desperate characters playing out their dramas with the city as backdrop. A departure from some of the signature sounds of his better known projects, Morby’s songs glisten with a haunting intimacy and while he maintains that the songs are stories about other people, it’s hard not to feel a piece of him in each one; a half-imagined, half-painfully personal world of lost love, addiction, violence and prayers for the departed. The album was recorded in Los Angeles in February and March of ‘13 with producer Rob Barbato who recorded the Babies second album “Our House on the Hill” and whose guitar and bass work figure prominently on Harlem River. The album also features drummer Justin Sullivan (the Babies) as well as contributions from Will Canzoneri, Tim Presley (White Fence), Dan Iead and Cate Le Bon.

Enterprising composer and musician Eddie Suzuki made his own path throughout his lifetime. Born on October 4, 1929, Suzuki worked as a young shoeshiner in 1940s Honolulu, saving enough money to take piano lessons. In high school, he lead a big band orchestra of 16, and sometimes up to 40 members. By the age of 18, he owned a piano shop that pivoted to become Honolulu’s top guitar store.

For Eddie Suzuki, music always came first. In 1973, after performing and composing songs for many years, Eddie Suzuki and his group, New Hawaii, recorded the now impossibly rare album, High Tide.

The LP is “not a rock-out”, local music journalist Wayne Harada ruminated in a 1973 review. “Rather, it’s one man’s vision — and version — of the now Hawaii.” A seasoned mix of psych, Hawaiian, and pop sensibilities, the music on High Tide gave the listener a look into Eddie’s singular vision celebrating the sights and sounds (and spirit) of Hawaii.

Eddie Suzuki’s New Hawaii:
Laurence Harada, guitar
John Schulmeister, bass
Gary Fittro, drums
Nani Kuaiwa, vocals
Eddie Suzuki, vocals, Hammond organ, Arp synthesizer.

"A beautiful album celebrating Hawaii’s warmth and spirit. The personal story here is that I reached out for a license just 1 week too late — Eddie Suzuki had died the week prior to my initial phone call. It took a couple years until I was able to connect with his son and get his permission to reissue Eddie's music." – Roger Bong, Aloha Got Soul

This is a special one. Very much indeed. I was on a train on my way to Galicia earlier this year when my phone started off. It was Mike. Me and him exchange a call every now and then, so I thought it was the classic how-you-doing thing, which of course was. Only that this time the call ended with him saying “I’ve emailed you something, a couple of vocal takes plus the only music line that survived that session which is some great drumming by Gad”. Nothing more. Gad (scratches head)? Who the hell is Gad? When I arrived at destination and found some steady wifi connection I downloaded the stuff and found out “who the hell” Gad was. Nothing less than the “most recorded drummer in the history of soul music” aka James “Big Foot” Gadson who, beside the Kirklands, in his career has been drumming for the likes of Marvin Gaye, Charles Wright, Bill Withers, The Temptations, Martha Reeves, Quincy Jones, you name a Soul Star or a famous album, or a legendary recording session, he was there beating snares and kicks. Having been much satisfied by our work on the “Love Scenario” release Mike wanted us, and I quote him literally, “to do our magic”. We did our best of course, but you just can imagine the pressure. This time we went the extra mile though because at some point, listening again and again to the verses and choruses I figured out it would have been a great experiment to give an ultra retro feel to an original recording of 1980. So, while we were doing our thing I’ve asked my mate Paul from Blue Lotus Recordings in Saint Louis, if they could “do their magic” themselves. They gladly accepted the challenge, I handed them over the vocal takes and Gad’s drumming and the result is this 4 tracks 7”/33 rpm biscuit which we hope you will enjoy as much as we all have enjoyed producing it.

Mega rare 1974 jazz funk rock album recorded by Argentina's top jazzmen Pocho Lapouble, Ricardo Lew and Adalberto Cevasco (also members of Quinteplus, Jorge Lopez Ruiz's band and Gato Barbieri's group among many others). Includes the irresistible fast-paced funk rock track 'Se Acabó el Recreo' and the ethereal 'Todo en Su Medida y Armoniosamente' and 'Haceme Shaft', featuring Patricia Clark on vocals and unexpected moog arrangements. First time reissue, with remastered sound and original artwork.

Those into world jazz will be aware of the amazing modal, big band and post-bop jazz recordings released in Argentina in the '60s. The body of work produced by the likes of Chivo Borraro, Jorge López Ruiz or Enrique Villegas would be able to rival the recordings of their American counterparts.

The following decade would see a great openness to the exploration, with a jazz language, of other musical genres, with a certain preponderance of rhythm. The members of El Trio are part of a jazz generation with a greater propensity to experiment with electricity and with what could be considered an avant la page exercise of what soon afterwards would be called jazz rock -it is music composed and played, in the faraway Buenos Aires, at the same time Miles Davis adventured into new fields, with such records as "In a Silent Way" or "Bitches´ Brew".

"Todo en su medida y armoniosamente" reflects that same spirit of experimentation and fusion of diverse influences with an eye on both rock and local folklore. It's not surprising that the protagonists of this recording -Pocho Lapouble (drums), Ricardo Lew (guitar) and Adalberto Cevasco (bass) - had accompanied Gato Barbieri himself in his project "Latinoamérica" shortly before the release of this album where the presence of rhythms from the southern hemisphere infused the avant-garde jazz of the Argentine saxophonist. Drummer Pocho Lapouble had also created Quinteplus, which in 1972 released a single studio LP inspired by those same premises of fusion jazz.
This album was originally released on the eclectic local label Music Hall in 1974 and probably distributed in tiny quantities, hence the rarity of this record and the current crazy prices in the collectors' market.

Emerging Irish talent Lukey makes his debut on Hot Creations next month with the three-track Less Is More. Achieving such a feat so early in his career signals a major milestone for the young artist, setting the tone for a highlight year ahead.

The title track kicks off the release, showcasing the Irishman’s signature style with a minimal, four-four led bassline that features a rolling synth throughout. Quick One soon ups the tempo, packed full of dubby undertones and cosmic-leaning synths, before We Will Never Hear brings things to a close. A devilishly danceable piece that features an iconic vocal, expect to hear this across the global club circuit in 2021.

Already an established presence in his home city of Dublin, it’s no surprise Lukey is beginning to take the wider industry by storm. Previous appearances on Play Groove and IWANT Music have solidified his reputation as one of dance music’s breakthrough talents. With two vinyl-only releases dropping on Carpet & Snares this year, as well as plenty of productions in the pipeline, the future is certainly shining bright for Lukey.

"First Noel is a Christmas album including 25 of the greatest classics as well as three exclusive new tracks I composed especially for the very first Christmas of my son, and in honor of my grandma Odette's last one, past year. The Christmas memories I have are full of wonderful moments, so I insisted on recording this album staying true to the magic of these instants.

First thing, I surrounded myself with 3 great friends of mine and long-time collaborators: François Delporte (guitar), Frank Woeste (piano) and Sofi Jeannin (choirmaster). Sofi has selected 8 singers with celestial, sublime voices. We recorded in two magical places: the studio of my friend Armand Amar - where I had the chance to work on my first albums (Babel Studios in Montreuil) - and the Church of Saint-Julien-le-Pauvre. The latter being the most ancient church in Paris - only a few meters away from the Notre-Dame Cathedral - has always been at the center of significant moments in our family history in France. My father was a sacristan there in the '60s. It is in the sacristy that he elaborated and worked on his trumpeter career. My aunt Hind - whom I loved - also a pianist, and my beloved grandmother, Odette, both had their funeral in this church. It is also in this same church that I got engaged and married… So many milestones.

After recording many albums, I felt it was the right time for me to share my versions of those great Christmas classics, by giving them a much less childish dimension and a more musical, also spiritual one, but still preserving their subtle and necessary fragility, specific of children's music or of those great classics renowned and sang all over the world. I was hoping that First Noel would not be yet "another" Christmas album, with Frank Sinatra-like crooners and Hollywood-style arrangements. Instead, a simple, humble, instrumental album, in the original meaning, without lyrics, allowing the melody to be at the center of it all. Soothing music to dream, to reunite us, regardless of our mother tongue, our age, our culture and more importantly regardless of our religion.

That is how Odette viewed things, and this is also the way I wish Nael and Lily, my children, would listen to the world."

* New from Innerground Records (co-founded by DJ Marky), also the home of Calibre, BassBrothers, Random Movement and Blade, comes the highly anticipated double vinyl LP from DJ Marky & others, ‘100’. Drawing inspiration from the past 18 years of Innerground’s vast history and impact on the Drum & Bass movement, and the signature latin influences of DJ Marky that have brought excitement and vitality to stages around the globe. This special collaboration between one of the most important figures in the genre, and a collection of some of the most highly respected producers and artists in the scene, creates a ground-breaking LP that marks the 100th release from Innerground Records.

* It should come as no surprise that the double LP packs a punch, when looking at the combined experience of its contributors. ‘100’ begins as a bold statement from the main man DJ Marky, laying down the foundations of what’s yet to come from this veteran D’nB lineup. We’re taken on a ride through morphing tempos and enchanting vocals that hammer home what this immense centennial is all about - a special milestone in the genre that will be remembered in years to come.

TRACKLIST:

A1 : DJ Marky Feat. Lorna King – Changing Moods (LEAD SINGLE (SPECIALIST RADIO PLUGGING BY LISTEN UP)
The album launches with the warm Brazilian sunshine D&B that Innerground’s main man Marky is known for. Lorna King’s uplifting harmonies intertwine with playful melodies to shape not only a guaranteed party starter, but a track that will put a smile on your face. Shades of his legendary ‘LK’??!

A2 : Data 3 – String Theory
After the Brazilian sunshine comes the rain… We’re taken on a detour through a dark valley as spiralling synths ascend to a glitch filled break. Ominous chords reverberate around the onslaught of rattling hats and deep choral vocals.

B1 : Random Movement – Patty Melt
The American D&B veteran returns to Innerground, bringing a funky fast guitar filled banger. Rapid drums and airy synths balance over happy vocals and undulating groovy bass guitar to create a track you can’t help but move to. Potential (slow-burner) track of, ’Innerground : 100’, the album?

B2 : Melinki & D'Cypher - Listen To Everything
A dark bopper with swaying hats chiming over aggressive basslines. Vocal samples provide a short-lived breather from this menacing track’s all-consuming energy. This isn’t the first time Melinki & D’Cypher have linked up and we look forward to many more from these two!

C1 : Saikon - Guilty Pleasures
Anticipative strings and a steady break lead to snappy vocal chops, crescendos at a break that unfolds in to house-led bouncey stabs. You wouldn’t expect anything less from Saikon!

C2 : Carlito - About You
Fans know that this is far from Carlito’s first Innerground rodeo – he’s back with a track that balances male and female vocals over enchanting pads. Synths twinkle amongst racing breaks to make for a certified club heater.





D1: Collette Warren, DJ Marky & Tyler Daley - One Exception (Pola & Bryson Remix)
As the album draws towards its close, cinematic piano and vocals to make your hair stand on end craft a beautiful contemplation between Tyler Daley and Collette Warren. D&B household names Pola & Bryson show their take on the track originally produced by DJ Marky. If this song doesn’t move you, you’re made of stone!


D2: Fluidity & Loz Contreras - Back To You
The LP finishes with a bang. Fluidity & Loz Contreras pair up to transport us back to the sunshine that Marky initiated. Oceanic pads and wispy vocals merge seamlessly to craft a warm and groovy finale that will leave you craving more Innerground energy, as this incredible centennial LP boldly forges its place.

Walking through a forest and paying attention to our surroundings revitalizes the senses enough to ease the drive to do something and is calming enough to allow us a moment of peace and tension release. Mindfulness and meditation come naturally when you allow your senses to focus on the slight and subtle changes around you. Take a deep breath of fragrant air, soak in the feeling of the textured ground and enjoy the sights of the slowly shaking treetops in the sky. Touch the moss-green, soft ground carpeting the shaded stones, sense the abrasive bark on the trees and smell the versatile odors of pure nature. Let the stillness around you influence your state of mind and make you forget the constant motion of society. Take a timeout, immerse yourself in the forest, use all of your five senses to experience everything to the fullest and surround yourself with life existing in this environment - you will realize that you are indeed a part of nature. Shinrin Yoku helps to rejuvenate the exhausted body and balances the body and mind. This is a sensory and intimate experience.

Teeside singer/songwriter returns with his 4th album feauturing lead single ‘Emily’. James will tour the UK/Ireland in March 2022, with dates including a special show at London’s prestigious Royal Albert Hall. A North American tour follows in April/May. James has sold over 30 million records worldwide and has to date released three hugely successful albums 'James Arthur' (UK No.2), 'Back From The Edge' (UK No.1) and 'YOU' (UK No.2), alongside nine solo UK Top 40 singles. This new album features 14 stunning songs across a standard single CD and double black vinyl LP. TV promo includes BBC Breakfast, Sky News, James Martin Saturday Morning and more. TV ad campaign. Online/social media activity. Ads, features, interviews and reviews across all press. Radio support with playlists, interviews, sessions and ads. Poster campaign and database mailout.

Trad Vibe Records proudly presents a first-time reissue of Caribou, a side-project of Cortex, originally released in 1977. A great and rare double-sider jazz-funk 7inch, now available as a reissue.

French avantgarde Jazz-Funk pioneers Cortex released three milestone albums during the seventies including the iconic Troupeau Bleu. Their music has been sampled by Hip Hop artists such as MF Doom, Wiz Khalifa, Lupe Fiasco and Rick Ross and as a consequence is still very much alive today.